ordingtoourseparate,forthesakeofanalysis,ponentparts,sotocertainsensewealllistentomusiconthreeseparatelackofabetterterminology,onemightnamethese:1)thesensuousplane,2)theexpressiveplane,3)thesheerlymusicalonlyadvantagetobegainedfrommechanicallysplittingupthelisteningprocessintothesehypotheticalplanesistheclearerviewtobehadofthewayinwhichwelisten. Thesimplestwayoflisteningtomusicistolistenforthesheerpleasureofthemusicalsoundisthesensuousistheplaneonwhichwehearmusicwithoutthinking,withoutconsideringitinanyturnsontheradiowhiledoingsomethingelseandabsent-mindedlybathesinthekindofbrainlessbutattractivestateofmindisengenderedbythemeresoundappealofthemusic. Thesurprisingthingisthatmanypeoplewhoconsiderthemselvesqualifiedmusicloversabusethatplaneingotoconcertsinordertoloseusemusicasaconsolationoranenteranidealworldwhereonedoesn’thavetothinkoftherealitiesofeverydaycoursetheyaren’tthinkingaboutthemusicallowsthemtoleaveit,andtheygoofftoaplacetodream,dreamingbecauseofandaproposofthemusicyetneverquitelisteningtoit. Yes,thesoundappealofmusicisapotentandprimitiveforce,butyoumustnotallowittousurpadisproportionateshareofyoursensuousplaneisanimportantoneinmusic,averyimportantone,butitdoesnotconstitutethewholestory. ThesecondplaneonwhichmusicexistsiswhatIhavecalledtheexpressive,immediately,wetreadoncontroversialhaveawayofshyingawayfromanydiscussionofmusic’sexpressivenotStravinskyhimselfproclaimtha
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