试译 | 关于音乐的诗学形式（片段）——海杜克《美杜莎的面具》

In fact, we cannot observe the creative phenomenon independently of the form in which it is made manifest. Every formal process proceeds from a principle, and the study of this principle requires precisely what we call dogma. In other words, the need that we feel to bring order out of chaos, to extricate the straight line of our operation from the tangle of possibilities and the indecision of vague thoughts, presupposes the necessity of some sort of dogmatism. I use the words dogma and dogmatic, then, only insofar as they designate an element essential to safeguarding the integrity of art and mind, and I maintain that in this context they do not usurp their function.

P.6. Poetics of Music in the Form of Six Lessons, by Igor Stravinsky.

Harvard University Press, Cambridge, 1952.

以下为尝试翻译稿，请谨慎阅读。如有误导，概不负责。

事实上，我们不能独立于其表现出来的形式来观察创作现象本身。每一个形式化过程都源自某一原则，而对这一原则的研究所需要的恰恰是我们所说的教条。换句话说,我们对于从混沌中寻求秩序，从多可能性的纠结和模糊想法的优柔寡断中解救出来的需求，都预示着某种教条主义的必要性。我使用“教条”和“教条的”这两个词，仅仅是在它们特指某个维护艺术和思想的完整性的必要元素的情况下。我认为在这种语境下他们并不僭越其语义。

P6.关于音乐的诗学形式的六节课,伊戈尔·斯特拉文斯基。

哈佛大学出版社，剑桥市, 1952年。

1. 本篇英文原稿来自Mask of Medusa，by John Hejduk；

2. Igor Stravinsky，伊戈尔·菲德洛维奇·斯特拉文斯基。美籍俄国作曲家、指挥家和钢琴家，西方现代派音乐的重要人物。