Nettl, Bruno. 1989. “Mozart and the Ethnomusicological Study of Western Culture (An Essay in Four Movements).” Yearbook for Traditional Music 21: 1-16.
“莫扎特与西方文化的民族音乐学研究”
主讲：陈晨 专业：传统音乐
一、 文章结构
采用了交响曲的四乐章结构作为框架（题目中的An essay in four movements）作者写道：“本文试图尝试揭示观念和文化之间的相互影响，由于它的撰写也是为了向作曲家中的特例莫扎特致敬，因而文章的结构将追随十八世纪交响曲的曲式结构。”（见P1/3）
具体结构如下：
v 提献
v 概述
v Mvt 1:
v ADAGIO: We Begin in Montana
v ALLEGRO ASSAI: Ethnography of the Music Building
v First Theme: A Visitor from Mars
v Second Theme: Amadeus
v Development and Recapitulation: The Great Masters
v Mvt II: ANDANTE: Mythological Variations
v Theme: The Myth of Beaver
v Two Variations: Myths of Mozart and Beethoven
v Mvt III: MENUETTO SCHERZANDO: Pairs, Sweets, Oranges
v First Minuet: Beckings Curves
v Trio: A Matter of Synesthesia
v Second Minuet: Big Is Beautiful (Or Great is Great)
v Mvt IV: RONDO: What Does Our Music Tell Us About Ourselves?
v Adagio: Cultural Performances in Iran
v PRESTO
v Clothes Make the Musician
v The Orchestral Paradigm
v Program Patterns
v Coda: The Great Masters and Cultural Values
二、 概述：
概述部分阐述本文中民族音乐学的三种不同概念、本文的内容、作者的视角、研究方法、以及本文的目的：
v 对于ethnomusicology概念的三种界定，并且这三种界定在本文中都被使用：对于音乐系统与文化的比较性的研究，将音乐放入文化的背景中或者将音乐作为文化的研究 ，在局外人的视野下对于音乐文化的研究（对于他者音乐文化的研究。
v 本文的内容：论述使用民族音乐学的学科观与方法，研究西方社会的艺术音乐的问题。（题解）文中写道：“由于以上三个界定，无一将西方社会的艺术音乐排除在外，而事实上民族音乐学甚少致力于这个方面的研究。今天本文就论述这个问题，……”（见P1/2）
v 三种视角：有时作为美国的民族音乐学家、有时假装作为（西方艺术音乐文化的）局外人、第三，有时作为（西方艺术音乐文化的）报告人（informant）（局内人）。
v 研究方法：比较；比较的对象是西方艺术音乐文化以外的一种社会的音乐文化，这些音乐文化是作者后天习得并逐渐熟知的（即后文提到的Blackfoot people in Montana、南印度卡纳提克音乐、和 Iran Cultural performance)。
v 本文的研究目的：民族音乐学方法的批评（反思性批评）（ P1/2… a critique of ethnomusicological approaches. ）；尝试揭示观念和文化之间的相互影响(不属于综述这一段，但逻辑归于他，见P1/3：in its attempt to establish interplay of ideas and cultures)
三、 第一乐章
Adagio: We Begin in Montana
作者受到Merriam的影响,认同“一个社会群体，无论这个社会群体的规模大小，它持有的音乐观念体系总是复杂但一致的，并同时表现出音乐和文化这两个同样重要的属性”这一观点。
举例Blackfoot people of Montana说明，黑脚族音乐文化特点：黑脚族音乐思想的首要组成部分是歌；黑脚族人认为，song这个组成部分与其他两个要素是不可分割的整体，即其一是不经历变化或变奏，第二是通过与song关联的用途、人物和时间来识别；同旋律异幻象，被认为是两首歌；创作和学习相关联，被认为现存音乐是向音乐以外事物学习的结果；歌是人群之间，人与超自然力之间交流的媒介；音乐文化中的某些因素而不是另一些被评价，另一些因素在评价机制中被忽略。（例举风格与表演者因素往往比较受重视，而曲目、表演方式、作曲家和表演者的努力程度等往往被忽视）（详见P2/1）
Allegro Assai:音乐大厦中的民族志 第一主题：火星来客
取位局外人，即火星人——地球西方艺术音乐大厦（文化）
民族音乐学者的任务之一是辨认出一个文化内部共识的观念基础，而西方音乐大厦中的观念基础之一是作曲家被重视。（延续前文提到的“音乐文化中的某些因素而不是另一些被评价”。）
第二主题：Amadeus
取位局内人，即音乐学家——西方艺术音乐文化
西方艺术音乐文化中的作曲家的双重含义，即作为人来理解的作曲家，或者是作为作曲家所做作品的总合来理解的作曲家，这两方面似乎重合，但有时相互冲突。 音乐学家，作为西方艺术音乐文化中的一员，同样持有上述概念，并因此陷入研究的两难境地。
例如：对于Amadeus的批评潮：莫扎特的人不匹配其作品的伟大；对于Beethoven的心理分析研究反响巨大：贝多芬的心理不匹配及作品的坚强；作者的一系列提问：Are great composers great souls, and does the music come from divine inspiration, or are they just excellent technicians? Is it better to be a genius who comes to his accomplishments effortlessly or someone who achieves by the sweat of his brow? Who should properly be loved by God?；比较其他文化的情况：由于文中的潜在观念不同，因而在有些文化中上述两难境地是没有的。
发展与再现：伟大的大师们
西方艺术音乐文化是以少数精英作曲家主导的。西方艺术音乐文化的潜在观念要求伟大的作曲家的人格与其作品的伟大相统一。上述两方面影响西方面音乐学家的研究（音乐学家是Native informant），表现为：集中围绕于人（笔者注：指精英作曲家）的研究；研究小作曲家必与大作曲家相联系；一个作曲家所有作品的连贯统一性极为重要。西方艺术音乐文化的潜在观念认为西方艺术音乐是超越民族和国界的。西方艺术音乐文化的潜在观念认为音乐家都是外国人陌生人。
四、第二乐章 Andante: 神话变奏曲
第二乐章的主要观点是通过观察对于一些音乐家的普遍观念，我们可以获知音乐系统与其他文化之间的关系。而上述这些观点从各种来源的神话中搜寻出来的。
主题：海狸的传说
通过黑脚族人的神话《海狸的故事》中，得出黑脚族人的音乐文化观。表现为：歌是整体，通过一次口传习得；歌可被交易，表现为无形的歌换有形的物；文化在音乐中得到反映，歌的音声和歌所在的环境一起才成为歌；男人表演和使用，女人是带来歌的媒介；歌是黑脚族人性和族性的，是部落文化的重要部分；音乐有其特定角色、功能，并在指定仪式中使用。
两个变奏：莫扎特和贝多芬的传说
通过神化《莫扎特的故事》和《贝多芬的故事》，得出两位大师在欧洲和美国的不同崇尚程度与背后的社会文化观念基础（即文化）。表现为：欧洲——美国的不同社会文化观念对于art and life的不同认同：莫扎特（天才）——higher esteem in 欧洲——欧洲潜在的艺术与生活的观念为基础，即崇尚天才的文化观念；贝多芬（勤奋的典范，与命运的捉弄deafness抗争，always struggling）——美国——崇尚努力能够获得成功（ammerican dream) 的文化观念。其他观念基础（价值观）（P8/4 today…some of our values）：Genius must suffer，Inspiration——labor 矛盾体，Consistancy——innovation 矛盾体，超自然联系、陌生人。
五、第三乐章: Menuetto Scherzando: Pairs, Sweets, Oranges
第一小步舞曲：Becking’s Curves
观点：西方艺术音乐文化是二元论的（Dualism）：以莫扎特—贝多芬分类典范的Becking Curves（major—minor, vocal—instrumental, sacred—secular, traditional—new, art music—everything else）二元论在音乐学学者思维中的表现，Scholars的配对倾向。
Trio: 联觉的问题
用西方艺术音乐文化演绎Merriam联觉理论。（与前后两个小步舞曲的归纳方法相反，成为三声中部）文中表现为：当接受一种感官的同时另一种感官被激起的经历感受；Merriam的理论并没有充足的例证，由于未与味觉相联系，因而有了本段Nettl的演绎；演绎简述：莫扎特是甜的，舒伯特是甜的——甜品、巧克力。
第二小步舞曲：庞大即伟大
观点：西方艺术音乐认为音乐的价值与其规模密切相关，表现出庞大即伟大的观念：伟大很庞大，举例：贝九——发条橙——西方文化的价值观，莫朱——世界新闻末日——电影最后部分高潮（应用于小说或电影中表现人类命运的巨画时刻）；大师必须创作大型作品，例如交响曲、协奏曲、歌剧等,，只能多写，不能少写；经典传世曲目都是篇幅冗长的、乐队编制规模巨大的大型作品，例如交响乐、歌剧、清唱剧和弥撒曲等；亚洲和非洲国家的音乐现代化变现为：1建立西方的管弦交响乐队，2建立由民族民间乐器组成的大型乐队；贝多芬是世界的成就的代表，而莫扎特是另一个世界的礼物。
六、第四乐章: Rondo: 音乐告诉我们了些关于我们自己的什么？
Adagio: 伊朗的文化演出
观点：音乐系统可以细致体现某个文化中普遍的价值观。
Presto分为三个片段：用衣着标记的音乐家们、管弦乐队的范式、节目单的模式
用衣着标记的音乐家：表演者和受众在不同音乐场和中的衣着不同，体现音乐生活中的层次和社会生活中的阶级。
管弦乐队的范式：反映出工业化的痕迹；反映出殖民主义的痕迹（外籍指挥）；反映出军队式管理的痕迹。
节目单的模式：节目单的内容和结构充分体现了伟大作曲家的地位，甚至是霸权。
七、Coda: 大师们和文化价值
作者仍旧认为音乐观念及其价值最终能够通过文化价值的研究而被阐释。
八、总结
本文是利用民族音乐学方法对西方音乐文化进行研究，是在20世纪80年代后北美民族音乐学反省思潮中，对于民族音乐学方法论进行反思。
曹老师的点评：
Structure of the Article
Introduction
Adagio 【Outsider’s encounter with music of the “others”】
Allegro ASSAI: Ethnography of the Music Building 【academia】
First Theme: A Visitor from Mars 【musicologist, the scholar】
Second Theme: Amadeus 【great composer(s)】
Development and Recapitulation: The Great Masters 【further discussion of great composers】
Andante: Mythological Variations
Theme: The Myth of Beaver
Two Variations: Myths of Mozart and Beethoven
Menuetto Scherzando: Pairs, Sweets, Oranges
First Minuet: Becking’s Curves
Trio: A Matter of Synesthesia
Second Minuet: Big Is Beautiful (Or Great is Great)
Rondo: What Does Our Music Tell Us About Ourselves?
Adagio: Cultural Performances in Iran
Presto
Clothes Make the Musician
The Orchestral Paradigm
Program Patterns
Coda: The Great Masters and Cultural Values
以下是曹老师希望同学在文章中注意的地方：
Introduction
p. 1
I shall give three definitions and use them all: the comparative study of musical systems and cultures; the study of music in or as culture; the study of a musical culture from an outsiders perspective. None of these excludes the art music culture of Western society, but few ethnomusicological studies have actually been devoted to it. I would like to deal with this topic, speaking at times as an American ethnomusicologist, at other times pretending to be an outsider, and sometimes acting as the native informant of this study… I doubt that this essay states anything new. It is intended to provide food for thought but it is also by implication at least a critique of ethnomusicological approaches.
ADAGIO: Outsider’s encounter with music of the “others”
前奏：“他者”对“音乐”的看法与“我者”（西方学者）的不同。“他者”对“音乐”的看法是多层次和复杂的（这一点Nettl在以下几节有更多的描述：用“火星人”（外访者）访问某大学的音乐系时，系内不同人（“他者”）向他提供的不同介绍。
ALLEGRO ASSAI: Ethnography
First Theme: A Visitor from Mars
p. 2
This summary may be a guide to the kinds of things that a perfect stranger in Western art music culture might note and investigate.
p. 2 - 3
… one of my favorite figures is an “ethnomusicologist from Mars” 【局外人】 who has the task of discerning the basics of Western art music culture as manifested by the community of denizens of a …Music Building. 【Music Building = 北美学界】 Would his experiences be a bit like mine in a Blackfoot community? 【见上一段“Adagio…” 】 We can imagine him or her (or it?) on arrival looking in the windows of the little practice rooms, seeing people playing on various instruments to themselves….
There is no need to belabor the impact that the initial experiences may have on any newcomer to a culture.
Second Theme: Amadeus
p. 3
…our Martian friend runs into the concept of Mozart…, realizes that one way to do good field work is to pursue a concept wherever it leads you. What he pursues… is the Mozart of today, … quite different from what is done by the many scholars (prominent among whom was my father) who have studied the Mozart who lived in the eighteenth century. The two are closely related and depend on each other, but they are not identical. …the study of today’s Mozart may be a task for ethnomusicology….【人 vs 天才】
…the ethnomusicologist encounters the play Amadeus 【Amadeus指的是那套Mozart的好莱坞电影】
Development and Recapitulation: The Great Masters
p. 4
…Are great composers great souls, and does the music come from divine inspiration, or are they just excellent technicians? Is it better to be a genius who comes to his accomplishments effortlessly or someone who achieves by the sweat of his brow? Who should properly be loved by God? In some societies the matter has been resolved. In Madras, I was told, “Tyagaraja was such a great composer because he was such a holy man;” and a Blackfoot composer received his songs directly from the supernatural, a source above criticism.
In real life, these two themes 【人 vs 天才】 are mixed and intertwined; let me briefly develop and eventually recapitulate them, returning to the ethnography of the Music Building and the centrality of the “great masters,”…. As geniuses, they exist on a different plane from other musicians.
The great masters wrote great music, but opinion is sometimes divided on the basis of personality.
p. 5
In musicology…the selection of research topics often revolves about a person; one is a “Mozart scholar,” “Bach scholar,” “Liszt scholar.” Successful research on a minor composer depends to a considerable extent on the scholar’s ability to show relationship to or influence from or upon a member of the great master elite. The coherence of the corpus of creations by a composer is a paramount issue to scholars. To know the person who composed a piece is to know the most important thing about it. To find a new piece by a great master can give you the musicological equivalent of the Nobel Prize…. And that it be truly a piece on its own terms, without excessive relationship to others, gives us another value of the Music Building, the great importance of innovation.
The Music Building is in North America, 【Music Building = 北美学界】 but its denizens don’t worry that the great masters are not Americans and, indeed, largely ethnic Germans. Their concept of art music is supra-national... The emblem of this concept is the use of a single notation system which enables musicians who cannot speak to each other to play in the same orchestra… Furthermore, there is a universal terminology, derived from Italian, which has only recently begun to give way to national vernaculars. …somehow, the musician, often a strangely-behaving person … is permitted, even required, to be a strange, unconventional person…. The mad, inexplicable genius, perhaps, but he may also be thought to have a deviant lifestyle, to be a habitual drunkard, drug addict, debtor, homosexual, womanizer, but then also a foreigner.
Andante: Mythological Variations
Theme: The Myth of Beaver
p. 6
If they【major composers】are the deities, is their character explained by myths widely told if not rationally believed? Can one gain important insights into musical culture from the reading of myths? It is an approach well established in anthropology and ethnomusicologists have begun to join.
Two Variations: Myths of Mozart and Beethoven
p. 8
…speaking now as a musicology professor, we know that these two men were not all that different in their work habits, that Mozart was a workaholic and an innovator and did some sketching, while Beethoven was not just a grind and a firebrand. The point is that in looking at the popular conceptions of a population of musicians, …we can learn about the relationship of the musical system to the rest of culture.
And so, as the Blackfoot beaver myth shows us important things about the way Blackfoot people conceive of their songs, the ideas we today have about Mozart and Beethoven reveal some of our values. Genius must suffer. There is conflict between inspiration and labor, and between consistency and innovation. The great composer has supernatural connections or is a stranger. Music is mysterious, its great practitioners come in some sense from outside the culture. The “composers” are the main units of musical thought and recognition. Their configuration illuminates major structural principles of Western music and society such as hierarchy and duality. 【 “duality” 指的是Mozart – Beethoven。】
MENUETTO SCHERZANDO: Pairs, Sweets, Oranges
First Minuet: Becking’s Curves
pp. 8 – 9
…a now largely forgotten work by Gustav Becking, Der musikalische Rhythmus als Erkenntnisquelle (1928). Becking had the idea that you could understand and interpret the fundamental musical character of a piece, a composer, a repertory, period, perhaps even culture if you listened to the appropriate music and allowed your hand or arm to beat time in the air rather naturally and without inhibition. From this kind of action he developed a series of typologies known as the “Becking curves,” grouped these into two categories, and showed that they cluster about the contrast between two major figures, Mozart and Beethoven. He is, incidentally, clearly uncomfortable with a third category which he felt obliged to establish as an afterthought, whose model is Bach, as he would rather show Western music as bipolar. And so he sees the classical music system essentially as opposition between monistic and dualistic, spiritualist and materialist, idealistic and naturalist motivations.
p. 9
…the denizens of the Music Building do divide the world into sets of pairs: The major-minor diad and the division of vocal and instrumental, sacred and secular, traditional and new, art music…. The sonata form…is an exercise in dualism. Mozart and Beethoven as opposites have a strong hold, and the thought of musicians and even of scholars seems to be oriented towards pairing: Leonin-Perotin, Ockeghem-Obrecht, Peri-Caccini, Cesti-Cavalli, Handel-Bach, Schubert-Schumann (but also Schumann-Mendelsohn), Liszt-Chopin, Verdi-Wagner (but also Wagner-Brahms), Smetana-Dvorak, Bartok-Kodaly, Schoenberg-Stravinsky, all of them partaking of some of the kinds of contrasts that the Mozart-Beethoven paradigm presents.
Trio: A Matter of Synesthesia
p. 10
Second Minuet: Big Is Beautiful (Or Great is Great)
pp. 10 – 11
The concept of musical value in Western art music culture is closely associated with size. We use the word “great” to mean excellent. A composition student striving for an advanced degree must ordinarily present a “large” work, long and for large ensemble. …in the period 1730-1900, most composers felt obliged to make serious attempts. It was as if the musical world were saying, “to be a proper composer…you must write at least some symphonies and concertos, and an opera or so.”
RONDO: What Does Our Music Tell Us About Ourselves?
Adagio: Cultural Performances in Iran
p. 11
This eighteenth-century symphony of a paper ought to close with a brief virtuosic wave of fanfares, as did Mozart in his Prague Symphony, no. 38, hailing the Viennese classicists as well as ethnomusicological method. Instead, it succumbs to the academics standard temptation to provide a serious and perhaps inconclusive ending, more perhaps like Brahms’ Fourth, but at least it hopes to end, like Brahms, in the majestic C-major.
The Adagio…fundamental values of a culture can be extracted from music, and especially from the kind of music that qualifies as “cultural performance.” This is a term which is widely used by anthropologists to identify music, theater, pageant, sports events in which a society abstracts for itself and others its governing principles, showing itself and others its uniqueness (Singer 1972:56-58). Examples may range from American Indian intertribal powwows to performances by the Vienna State Opera.
p. 12
…let me ask instead whether the large performances in the Music Building, of great works by great composers, by the largest ensemble-the symphony orchestra – further illuminate for insiders as well as our Martian observer the importance of the great master concept in the art music of Western culture. 【即文化含义】With it as the main theme of our rondo, brief episodes comment on the （1）taxonomy of music as revealed by costume; on the （2）orchestra as metaphor of factory, political organization, and colonial empire; and on the （3）role of the great composers such as Mozart in concert programs. 【从此3方面做“民族音乐学”的探讨】
Presto
Clothes Make the Musician
p. 12
...performers dress differently for different kinds of music. The relative status of repertoires and genres or of musical events is expressed, among other things, in the dress or costume of performers and even of the audience. In the concert halls at the Music Building, classical music concerts are ordinarily performed by musicians in tuxedos or tails, and evening dress. Bands wear uniforms derived from military usage, but in recent years, concert bands have tried to boost their status by sporting tuxedos. Big band jazz is played in uniform trousers and blazers. New music concerts, however, are performed by groups of people who dress rather casually, turtleneck sweaters featured, and avoid identical outfits. Choruses…wear robes to associate themselves with the unpaid but religiously prestigious church choirs….
The Orchestral Paradigm
In the history of Western music, the standardization, maturity, and eventual expansion of the symphony orchestra as well as its internal organization correlate with the development of European industrialization. The symphony orchestra of Haydn and Mozart coincides with the beginning of factories…there was added the practice of unison bowing and other kinds of uniformity under a time-beating conductor…. A hierarchical sub-structure developed; the third-desk violist is supposed to be better than the man sitting behind him, or to have more seniority. The first-class performers of the sections are department heads of a sort. And the concert master, whose main visible role is to preside over the tuning up of the orchestra (actually led by the first oboe), is a kind of factory foreman…. And note the labor-management relationship of conductor and orchestra…it is attractive to think of the orchestra as a kind of factory for making music which gradually adopted the refinements and efficiencies developed in the industrial world.
But the orchestra is also a kind of army and reflects a structure found in the military domain of culture which closely reflects important parts of the Western social structure. The conductor is the general…. There is little democratic discussion…. But actually there is rarely much hope of that, as the orchestra may be an army of mercenaries whose conductor can barely speak their language and has little sympathy for their culture.
Program Patterns
p. 14
…Content and structure of programs sheds light on the significance of hierarchy and the hegemony of great masters. In the 1940’s, a concert program of a symphony orchestra typically had this structure: 1) an overture or introductory piece, possibly by a Baroque composer, usually by a small version of the orchestra; 2) the piece de resistance, a symphony by a great master; 3) after the intermission, flexibility – a piece of twentieth century music, or possibly a concerto; 4) a lighter number or group.
p. 15
Coda: The Great Masters and Cultural Values
In this system of Western culture that produces wonderful music, what are the principles and values that underlie it and that it expresses? We see intriguing concepts such as genius, discipline, efficiency, the hierarchical pyramid of musics and composers, the musician as stranger and outsider, the wonders of complexity, the stimulus of innovation, music as a great thing with metaphorical extensions. But also…we see: dictatorship, conformity, a rigid class structure, over-specialization, love of mere bigness, and more of that kind, all explicitly or by implication extolled. …One may counter that the analysis is faulty, that instead of conformity there is cooperation, instead of authoritarians there are leaders. 【说来挺有意思，但依据何来？】Or one may argue that the kind of a social structure described…is essential for the proper performance of a music by the great masters, that in order for music of such an incredibly elite character as that of Mozart or Beethoven to be created and performed, one must simply sacrifice independence and personal opinion, must undertake an incredible amount of discipline, accept dictates of an elite wherever they lead. But these counter-arguments have a hollow ring. The ethnomusicologist from Mars has discovered questions but is far from providing definitive answers. 【北美民族音乐学好发天大的、但没有肯定答案的问题。】
In trying to present things that already know from possibly a different perspective, I have tried to look at the culture of the Music Building as many ethnomusicologists have tried to look at cultures foreign to themselves. If what I have said makes sense, then the established methods of musical ethnography…may be validated. If the reader from the world of the Music Building says, “sure, but so what,” 【不但是“音乐楼”里的人要问，我也要问：“有意思，但这有怎样？】ethnomusicologists may have to accept that the societies with which they conventionally work may be saying this as well. 【对的，民族音乐学者自以为很得意的、对“音乐在文化中”的见解，可能并不得到局内人的共鸣和欣赏】 If I have trivialized or grossly misinterpreted, this essay may indeed serve as a critique of the methods of our field. 【这篇文章可以视为对学科的反省】
And so, in my role of ethnomusicologist, I do not know how to reconcile technically and spiritually supreme musical accomplishment, by master composers who are presented as great human beings who have lived the good life, with values of an essentially negative character. Even so, I continue to be convinced that musical concepts and values can in the end be illuminated through the study of cultural values. Speaking however in my other role, as the native informant of this study, I have to say that when I hear Mozart’s works, I am inclined to think that there is really only one composer.
【真如作者所说，文章中列出的是一些众所周知西方人/西方音乐研究者对欧洲“古典”音乐的价值观，并不是特别有新意的观察。但当作者用所谓的“民族音乐学”视野来看待这些典型价值观时，特别是把这些价值观视为人的“现在”（history present）对人的“过去”（history past）的行为的解译时，似乎能在这“一般性”（common knowledge）的背后觉察到一些“社会文化”的含义和象征。但是，这可能只是民族音乐学者的“想当然”，对局内人不一定有意义，或者局内人根本对这些“文化的解译”不感兴趣。如是这样，这篇文章也可视为是对民族音乐学的批判（作者所说的“serve as a critique of the methods of our field”）。对音乐的研究，始终有一个理性和感性的平衡点——音乐作为文化（引作者的话，“musical concepts and values can in the end be illuminated through the study of cultural values”） vs 音乐就是音乐（作者的“谢幕词”：“when I hear Mozart’s works, I am inclined to think that there is really only one composer当我听到Mozart的音乐时，我不得不感到世界上就只有一个Mozart”(即音乐作为“works of art”本身存在的超脱，也即是，不是万物都要从文化上下文中去理解的）。】
