《意义的边界》简介：

任何音乐学研究在一开始都要面临这样一个问题——如何看待音乐的意义。罗森和所有伟大的音乐学家一样，都承认音乐必定会传达出某种意义。那么，在讨论和理解音乐时，意义是否存在边界，而边界又该如何划分？罗森认为，音乐的意义只存在于音乐本身，必须在音乐语言自身的框架之中来理解音乐，并在本书对这个观点进行了详尽的论述。另外，这本书分析说明了历代学者与理论家们在阐释音乐作品的意义时惯常使用的一些方法究竟有何优势与缺陷，为我们应该如何修正理解角度，更好地欣赏伟大的音乐作品提出了诸多精到且睿智的建议。

《意义的边界》摘录：

p55 Tieck's view of Beethoven must have reflected a fairly common reaction to the music, and this popular view had almost certainly inspired the most cogent part of E.T.A. Hoffmann's essays, which had a profound influence on the foundation of music analysis: his description of the way not only a single movement but often an entire symphony or trio of Beethoven's seems to spring from a single theme or motif. This is a dramatic response to the contemporary point of view expressed by Tieck, and it finally became an essential element in the estimate of Beethoven that has continued to the present day: the conception of unity derived from a study of his works is at the origin of the development of musical style through the works of Schoenberg and Boulez. Since Hoffmann, the belief that great ...

《意义的边界》目录：

【目录】
“罗森作品集”丛书总序
探索音乐意义的本质——中译者序
前言
第一讲 无意义的边界
第二讲 如何成为不朽
第三讲 要解释不言而喻的事？
索引
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