目录
C1 Pitch and Temperament Analysis
- C1.S1 [描述性拆分] French Baroque Pitch Variants and Egarr’s 398 Hz Tuning
- 页码：1-1
- C1.S2 [描述性拆分] Historical Pitch Variance and the Question of Temperament
- 页码：1-36
C1.S1 [描述性拆分] French Baroque Pitch Variants and Egarr’s 398 Hz Tuning
第1段（P0001）
原文复述
According to the author, performers have been becoming more historically informed with respect to French Baroque pitch. Seven musicians use the more traditional tuning of French Baroque pitch at 392 Hz, with Leonhardt cited as the first example in 1988 and Rousset as one of the later examples in 2010. Rousset’s CD booklet notes are quoted: ‘The instrument’s tuning is around 392Hz, which is what it must have been at the time, if we take into account the length of the vibrating part of the C3 string’. The author observes that there is no specific chronological pattern to the use of 392 Hz from 1958 onward, since this tuning is scattered throughout the period. Nevertheless, after Leonhardt and Moroney (in 1989), five of the seven recordings made between 2003 and 2010 are at 392 Hz, which the author interprets as suggesting a wider increase in historical tuning knowledge.
中文讲解
本段的核心主张是：演奏者对法国巴洛克音高的认识正在变得更具历史依据。作者用具体人数（七位）和具体频率（392 Hz）支撑这一判断，并以 Leonhardt（1988）和 Rousset（2010）作为时间上的两个锚点。Rousset 引文的价值在于：他并非凭感觉选择 392 Hz，而是从 C3 弦的振动长度做了物理推算，这是一种把"历史依据"建立在可测量参数之上的论证方式。本段的论证结构是"先否定、后肯定"：先承认自 1958 年以来 392 Hz 的使用没有明确时间规律（“scattered throughout”），但随后用统计证据（2003–2010 年间七人中有五人采用 392 Hz）说明，自 Leonhardt 与 Moroney（1989）之后，这种历史调音知识的传播确实在变广。本段在小节中的作用是确立 392 Hz 作为一种"更传统"且越来越被认可的调音基准，从而为下一段引出 Egarr 的非常规选择（398 Hz）作铺垫。
补充说明
Rousset 引文中"C3 弦振动长度"是论证 392 Hz 的物理依据，引文中"must have been at the time"把当下测量结果与对历史音高的推断衔接起来。其余信息均在原文中可直接定位，无额外补充。
第2段（P0002）
原文复述
The author reports that, in the booklet accompanying his recording, Richard Egarr states that he plays at 398 Hz and argues that pitch in this repertoire varied, being ‘anywhere from a’ = 360Hz (-ish) to a’=407 (-ish)… My instrument (the Ruckers copy) decided, after some months of rest and relaxation with Louis, that it liked precisely (according to my Korg tuner) 20 cent sharp of a’=392Hz. – which is around a’ = 398. And so the decision was made.’ The author notes that Egarr is the only performer to record at 398 Hz.
中文讲解
本段的功能是与上一段形成对照。Egarr 选用 398 Hz——即比 392 Hz 高 20 个音分（cent）的位置——而且在所有被纳入考察的演奏者中他唯一做出此选择，因此构成"个案/异常值"。Egarr 引文的关键论点不是某个具体数字本身，而是"音高存在幅度"的判断：他认为该曲目历史音高范围跨越约 360 Hz 到 407 Hz。引文修辞值得注意——“我的鲁克斯琴复制品……决定它喜欢……398 Hz”，以及"与 Louis 一同休息放松数月"——这是把乐器拟人化的第一人称叙述；作者引用它，是为了同时呈现 Egarr 选择 398 Hz 的依据（琴本身的物理特性 + Korg 调音器实测）以及这一决定所带有的偶然性与个人色彩。本段对小节整体论证的贡献是：即便在"历史知情演奏"的共识圈内，调音选择也并非铁板一块，单一"标准"法国巴洛克音高并不存在。
补充说明
引文中"Louis"从当前输入无法进一步定位其指代，不作猜测。“20 cent sharp of a’=392Hz. – which is around a’ = 398"这一换算关系由引文内部直接给出（20 cents 约等于 0.1939 个半音，与 392 Hz 复合得到约 397.6 Hz，原文以"around 398"表述）。
脚注 / 边栏 / 图表 / 附加信息（如有）
本节引用了两处外部来源的原文，分别由脚注 105（Rousset CD 册页引文）与脚注 106（Egarr 录制册页引文）支撑。两段引文都是支撑作者论点的关键证据，而非旁注。脚注本身在所提供文本中未展开具体书目信息。
💡 本节核心要点
- 392 Hz 被作者定位为法国巴洛克"更传统"的调音频率，Leonhardt（1988）是最早采用此频率的案例之一，Rousset（2010）则是较晚案例之一。
- Rousset 为 392 Hz 提供了基于 C3 弦振动长度的历史推算依据，反映出历史知情判断的可测量化。
- 1958 年以来 392 Hz 的使用没有明确时间规律，但在 2003–2010 年间所考察的七人中有五人采用此频率，作者据此推断历史调音知识在该时段得到更广传播。
- Egarr 以 398 Hz（即比 392 Hz 高 20 个音分）录制，是唯一的非常规调音案例；他主张该曲目历史音高跨度约为 360–407 Hz。
- 本节通过对 392 Hz 与 398 Hz 两种选择的并置，揭示"历史知情演奏"框架内并不存在单一的法国巴洛克标准音高。
🔑 关键术语
- French Baroque pitch（法国巴洛克音高）：指本节所讨论的演奏者对法国巴洛克时期器乐（尤其是弦乐器与羽管键琴）所用音高的复原选择，通常以 a’ 的绝对频率（Hz）或相对于现代标准音高的音分（cent）值来表述。
- 392 Hz（a’ = 392 Hz）：作者称为"更传统"的法国巴洛克调音基准；Rousset 以 C3 弦振动长度为这一频率提供物理依据。
- 398 Hz（a’ = 398 Hz）：Egarr 个别采用的调音位置，比 392 Hz 高约 20 个音分；本节将其作为对照个案提出，并附以 Egarr 本人对该曲目历史音高跨度的判断。
- cent（音分）：音高的对数计量单位，一个八度等于 1200 cents；本节中 Egarr 用"20 cent sharp of a’=392Hz"这一表述解释其 398 Hz 的选择。
- Ruckers copy（鲁克斯琴复制品）：鲁克斯（Ruckers）为历史上著名羽管键琴制作家族，此处指 Egarr 所演奏的按鲁克斯原件复制的羽管键琴；Egarr 引文以此琴的物理特性作为选择调音的根据。
C1.S2 [描述性拆分] Historical Pitch Variance and the Question of Temperament
第1段（P0003）
原文复述
Haynes notes that the shift in performing style did not begin to occur until the 1960s, with questions only occasionally being raised regarding pitch, instruments, ensemble sizes and unfamiliar playing techniques as a result of the closer study of original period instruments. The variance between the other four performers supports the evidence of the fluctuating A1 during the 1600s. Prior to the instrument revolution of c.1670, the pitch of A1 could vary anywhere between A=388 to A=490, depending on country, region within the country and the instrument used. This analysis shows that although a modern performer could use any pitch, it is recommended that they consider the realm of historical research to inform their choice of pitch. Based on Egarr’s example, a performer may consider becoming familiar with their instrument prior to recording, thus establishing a pitch to which the instrument naturally gravitates.
中文讲解
本段承接上文对音高(pitch)的讨论,引入Haynes的研究观点:演奏风格的真正转变直到1960年代才开始,起因于对古乐器的更细致研究。作者引用Haynes指出1600年代A1音高的浮动范围极大(A=388至A=490),因国家、地区、乐器不同而异。这一历史证据支撑了其余四位演奏家音高差异的现象。作者的结论是:虽然现代演奏者可以采用任意音高,但应参考历史研究;并以Egarr为例,建议演奏者在录音前先熟悉乐器,让乐器本身的自然音高得到体现。本段的论证作用是为后续讨论音律(temperament)做铺垫,强调演奏者应将历史信息融入实际演奏决策。
第2段（P0004）
原文复述
The question of temperament is more difficult to address, as the method using Sonic Visualiser was not available, and only three recordings offered information regarding temperament, all identified as meantone. Egarr notes he uses an adjusted quarter-comma meantone or ordinaire, which was common during the first half of the seventeenth century. He notes this “brings a strong, pungent taste (more Roquefort than Brie) to the music’s highly charged chromatic/harmonic content.” The three different temperaments Catherine Perrin uses are meantone, Vallotti and equal, and her interpretation of Prélude non mesuré in D minor is in meantone. It is possible that temperament influences Egarr’s recording, as he dwells slightly at points where the tuning is more pronounced, for example at 6R21-22, a point where the melody moves from C#5 to D5. Perrin also uses the tuning to emphasise points of interest, with moments where she chose to linger slightly to accentuate the character of the temperament. Jane Chapman is the third to use quarter-comma meantone. Given that all the other recordings do not offer any information, it would suggest that modern performers consider using meantone when performing the Prélude non mesuré in D minor, although this is more speculation rather than the identification of solid evidence.
中文讲解
本段讨论音律(temperament)问题。由于Sonic Visualiser方法不可用,只有三份录音提供了音律信息,且均为mean tone(中庸全音律)。Egarr使用调整过的四分之一音差中庸全音律(quarter-comma meantone),他认为这种律制为音乐带来’浓郁刺激的口感(更像Roquefort奶酪而非Brie)’;Catherine Perrin使用的D小调前奏曲采用中庸全音律;Jane Chapman是第三位使用四分之一音差中庸全音律者。作者指出:律制可能影响演奏,如Egarr在调性突出处(6R21-22,C#5到D5的进行)略有停留;Perrin也在律制特色点上稍作延长。作者承认由于多数录音未提供音律信息,关于’modern performers应使用mean tone’的建议更多是推测而非实证。本段作用:揭示音律选择会塑造演奏风格,但缺乏足够的录音数据来支撑结论。
第3段（P0005）
原文复述
Christophe Rousset, “Louis Couperin” (2010), 19.
中文讲解
脚注信息:Christophe Rousset的"Louis Couperin"录音(2010年),第19页。该脚注为前文P0003-P0004讨论Rousset录音时提供来源依据。
第4段（P0006）
原文复述
Richard Egarr, “Louis Couperin: Pièces de Clavecin” (2011), 5. doi:HMU907511.14.
中文讲解
脚注信息:Richard Egarr的"Louis Couperin: Pièces de Clavecin”(2011年),第5页,DOI标识为HMU907511.14。该脚注支撑前文P0003-P0004中关于Egarr音高与音律选择的论述。
第5段（P0007）
原文复述
Bruce Haynes, The End of Early Music: A Period Performer’s History of Music for the Twenty-First Century (Oxford; Oxford University Press, 2007), 45
中文讲解
脚注信息:Bruynes Haynes的《早期音乐的终结:一位本真演奏家对21世纪音乐史的回顾》(牛津大学出版社,2007年),第45页。该脚注支撑P0003中Haynes关于演奏风格转变始于1960年代的观点。
第6段（P0008）
原文复述
Haynes, A History of Performing Pitch: The Story of “A.”, 99.
中文讲解
脚注信息:Haynes的《演奏音高史:A的故事》,第99页。该脚注支撑P0003中关于1600年代A1音高范围在388至490之间浮动的论述。
第7段（P0009）
原文复述
SOURCE DOCUMENTS
中文讲解
小节标题:‘SOURCE DOCUMENTS(原始文献)’。该标题开启了本节关于Lebègue与F. Couperin序言文献的讨论,作为分析演奏诠释的史料依据。
第8段（P0010）
原文复述
Drawing on the information addressed in the period commentary and the notational practices evident in the manuscripts, analysis of the duration of the first croches blanches section of the prélude non mesuré in D minor explores modern interpretive approaches using the four-part schema noted below. The Bowen framework underpinned the analysis of five selected recordings in order to show how modern performers’ interpretations of notational detail and performance style within the prélude non mesuré itself changed.
中文讲解
本段引入本节的分析框架:结合原始文献与手稿中的记谱实践,分析D小调prélude non mesuré第一段(croches blanches部分)的时长,以探索现代诠释方式。作者采用四部分析框架,并以Bowen的方法论为基础,通过对五份录音的考察,展示现代演奏者对该前奏曲的记号细节与演奏风格的诠释变化。本段作用:为整节提供方法论说明。
第9段（P0011）
原文复述
As noted above, Lebègue and F. Couperin address the difficulty of making the genre of the prélude non mesuré genre intelligible to all keyboardists. These two performer/composers were the only practitioners to provide source documents that discussed performance interpretation relating specifically to the Prélude non mesuré.
中文讲解
本段说明史料来源的有限性:Lebègue与F. Couperin是仅有的两位专门针对prélude non mesuré体裁的演奏诠释提供原始文献的演奏家/作曲家,他们的序言旨在让所有键盘演奏者都能理解这一体裁。这为本节后续四个方面的分析(和弦、记号、连线、节奏)奠定史料基础。
第10段（P0012）
原文复述
Within their source commentaries, four stylistic aspects are presented:
中文讲解
过渡句:在其原始文献评注中,呈现了四个风格方面的内容。
第11段（P0013）
原文复述
- Aspects of chord playing
中文讲解
列表项之一:和弦演奏的方面(aspects of chord playing)。
第12段（P0014）
原文复述
- Note placement
中文讲解
列表项之二:音符位置的处理(note placement)。
第13段（P0015）
原文复述
- Line interpretations
中文讲解
列表项之三:连线的诠释(line interpretations)。
第14段（P0016）
原文复述
- Rhythmic variety
中文讲解
列表项之四:节奏多样性(rhythmic variety)。
第15段（P0017）
原文复述
Egarr, “Louis Couperin: Pièces de Clavecin.”, 5.
中文讲解
脚注信息:Egarr,“Louis Couperin: Pièces de Clavecin”,第5页。该脚注支撑P0004中关于Egarr使用四分之一音差中庸全音律及其’Roquefort vs Brie’比喻的论述。
第16段（P0018）
原文复述
Catherine Perrin, “24 Preludes” (1998), 8.
中文讲解
脚注信息:Catherine Perrin的"24 Preludes"(1998年),第8页。该脚注支撑P0004中关于Perrin使用mean tone的论述。
第17段（P0019）
原文复述
On the harpsichord, restriking an arpeggiated chord is a means of sustaining the tone, like that of an organ, ensuring the harmonic sound is audible to the listener. Lebègue references the technique of restriking the chord in the preface to his Pièces de clavessin, as noted on p. 27 of this thesis. Table 5 shows the variances in interpretations between the five performers of the first section, including their execution of the opening and closing chords:
中文讲解
本段引入第一个风格方面——和弦演奏。在大键琴上,重击(再奏)一个琶音化的和弦是为了像管风琴那样维持音色,确保和声可闻。Lebègue在其《Pièces de clavessin》序言中提到这一技术。表5将展示五位演奏家对第一段(包括开头与结束和弦)诠释的差异。该段作用:为后续五位演奏家的具体分析提供引子和数据表指引。
第18段（P0020）
原文复述
Gerlin’s Pleyel harpsichord does not have a lingering, resonant sound. Rather than re-sounding the note, he leaves melodic passages without the support of the bass harmonies. He delays the placing of the D5 at 6L7, playing it simultaneously with the right hand 6R19 midway through the melody, rather than restriking the chord. He holds some bass notes for longer than suggested by the lines, for example 7L12 can still be heard at 8R16, rather than as the line suggests lifting at 8R14. Gerlin does not restrike chords to solidify a harmony.
中文讲解
本段具体分析Gerlin的诠释:其使用的Pleyel大键琴缺乏绵长的共鸣,因此他不通过再奏来维持低音和声,而是将D5延迟至6R19与右手同时演奏;他延长某些低音(如7L12持续到8R16),但从不重击和弦以巩固和声。这是后续五位演奏家对比中的第一种典型策略:不重击。
第19段（P0021）
原文复述
Leonhardt’s recording is extremely resonant, and the listener can clearly hear the bass notes climbing smoothly from 2L9 (F#6), 2L10 (G6), 3L2 (A6). One can also hear the A minor chord at 14L1 through the descending A scale, before being released for the left hand to participate in the ascending A scale. Leonhardt does not follow the advice of Lebègue, and throughout his recording no chords are restruck to maintain harmonies.
中文讲解
本段分析Leonhardt的诠释:其录音共鸣极佳,低音连接平滑(如2L9 F#6至3L2 A6),A小调和弦(14L1)在A音阶下行时可清晰听见,但他并未遵循Lebègue的建议——全曲未重击任何和弦以维持和声。这是与Gerlin相同的’不重击’策略,但理由不同:Leonhardt依赖乐器的自然共鸣。
第20段（P0022）
原文复述
Sempé’s recording is also sonorous, and as one of the quickest recordings of the first section, it has a sense of brilliance – fast melodic passages and minimal, deliberate pauses that highlight on harmonic changes, and quick execution of tremblements. Yet due to the speed of the first section there is rarely a moment of reflection in his interpretation. The continual forward movement means that he does not restrike any left hand chords to retain the sound, as the chords remain audible for the duration of the right hand harmonic passage. Sempé does linger briefly over these和弦 at 14L9-14R18.
中文讲解
本段分析Sempé的诠释:其录音同样共鸣丰富,且速度最快,具有辉煌感——快速旋律经过,极简而刻意的停顿突出和声变化,颤音执行迅速。由于持续推进的动态,他不重击左手和弦,因为和弦在右手和声经过期间仍可听见。但他确实在14L9-14R18处短暂停留在该和弦上。第三种典型策略:不重击,但速度最快。
第21段（P0023）
原文复述
Tilney’s slower execution of the moving melody potentially provided opportunities to repeat the chord, yet he avoids such a practice. The harpsichord used in his recording has a bass register that is audible for longer than those of the other recordings, such as Rousset’s instrument, resulting in the melodic line having the support of the bass register for longer. However, Tilney’s slower tempo means the bass harmony still fades away, leaving the right hand unsupported, for example at 4L11-5R5. Tilney does not remain long at 14L9-14R18, meaning that there is no break between the two chords.
中文讲解
本段分析Tilney的诠释:尽管其较慢的旋律演奏本可提供重击和弦的机会,他却避免这一做法。其大键琴的低音区共鸣比其他录音(如Rousset)更持久;但由于慢速,低音和声仍会衰减,使右手失去支撑(如4L11-5R5)。在14L9-14R18,Tilney未做长时间停留,因此两和弦之间无明显间断。第四种典型策略:不重击,依赖低音区的自然共鸣,但承认慢速时低音仍会消退。
第22段（P0024）
原文复述
Rousset pauses at the chord 4L11-4R15 for so long that the G octave (G2/3) is no longer audible in the left hand. This results in absence of bass harmony to strengthen the G major to G minor shift in the right hand, as suggested by the sweeping lines held until 5L5. This could have been an opportune moment for Rousset to repeat the chord to sustain the harmony, if this is how we might choose to follow Lebègue’s advice. He holds the A major chord at 14L1-14R8 until it is inaudible, resulting in the absence of a sustained bass line during the scales that follow, although once again some kind of harmonisation is suggested by L. Couperin’s use of the lines. Rousset repeats this technique at the close of bar 14, holding the chord 14L9-14R18 until it cannot be heard, unlike Tilney’s swifter execution. Nowhere in the first section does Tilney restrike a chord.
中文讲解
本段分析Rousset的诠释:他在4L11-4R15和弦上停留过久,导致G八度(G2/3)在左手中已不可闻,使G大调到g小调的转换失去低音支撑(本可按Lebègue建议重击)。他在14L1-14R8的A大调和弦上停留至完全听不见;在14L9-14R18再次采用同样手法。Tilney在第一段中则从未重击任何和弦。第五种典型策略:不重击,但通过极长的停留来’用尽’和弦的共鸣。
第23段（P0025）
原文复述
Each performer interprets the opening and closing chords differently (see Table 5). The length of these chords is not reflective of the duration of the whole section. For example, Gerlin’s interpretation of the opening chord is the second fastest, yet his is the slowest first section, equal in duration with Tilney. Leonhardt has one of the longest closing和弦 (6.00 secs), yet his first section was the second fastest (1:50 min). Of the five selected performers, the overall theme for the duration of the opening chord shows an increase by modern performers, suggesting that increased resonance of harpsichords is encouraging performers to enjoy the sound of their instruments more. Of the remaining fourteen examples from the discography, only one performer is marginally longer in execution than Tilney, being Schenkman (8.19 secs). The fastest execution of the opening chord is recorded by Spieth (2.02 secs).
中文讲解
本段对比五位演奏家开篇与结束和弦的诠释差异,并指出和弦长度并不反映整段时长:如Gerlin开篇和弦第二快,但其第一段与Tilney并列最长;Leonhardt结束和弦最长(6.00秒),第一段却第二快(1:50)。作者归纳趋势:现代演奏者倾向于延长开篇和弦,可能反映了大键琴共鸣增强带来的’享受乐器音色’倾向。在其余十四例录音中,只有Schenkman(8.19秒)略长于Tilney,最快者为Spieth(2.02秒)。本段作用:用数据揭示外端和弦时长的多样化趋势。
第24段（P0026）
原文复述
Gerlin plays the first D minor chord in style brisé, however rather than stopping at the top of the chord, he returns down the arpeggio, taking 2.40 seconds to complete (see Fig. 22):
中文讲解
本段指出Gerlin以style brisé(分解和弦风格)演奏开篇D小调和弦,但不同于通常停在和弦顶部,他沿琶音下行返回,耗时2.40秒(见图22)。
第25段（P0027）
原文复述
[Image data omitted; position and caption retained: Figure 22: Louis Couperin: Prélude non mesuré: D minor (opening chord); This figure shows Gerlin’s style brisé interpretation of the opening chord of the D minor prélude non mesuré (Source: Tsurata, 2010. 109)]
中文讲解
图22占位符:展示Gerlin对D小调prélude non mesuré开篇和弦的style brisé诠释(来源:Tsurata,2010,第109页)。原图未显示,仅保留图注与位置信息。
补充说明
需查看原图以确认Gerlin下行琶音的具体音符走向。
第26段（P0028）
原文复述
Leonhardt quickly rolls upwards without restriking the chord or adding additional embellishments (2.63 seconds). Sempé is the fastest of the five performers executing the first chord in 2.23 seconds. Tilney expands on Gerlin’s idea further by rolling up, down and then completing the style brisé by rolling up the chord once more. This makes Tilney’s opening chord the longest, taking 8.18 seconds to complete. Rousset also plays as written (4.73 seconds), like Leonhardt, however his execution is nearly twice the length of Leonhardt’s and half the length of Tilney’s.
中文讲解
本段对比其余四位对开篇和弦的处理:Leonhardt快速上滚,不再击,不添加装饰(2.63秒);Sempé最快(2.23秒);Tilney扩展了Gerlin的思路——上滚、下行、再上滚,使其开篇和弦最长(8.18秒);Rousset按谱演奏(4.73秒),近似Leonhardt但时长近其两倍,约为Tilney的一半。本段作用:进一步细化开篇和弦的五种风格差异。
第27段（P0029）
原文复述
To further emphasize the differences each performer brings to the structure of the piece, it is pertinent to compare the final cadence of this section in bar 15, having examined the opening chord. Gerlin and Leonhardt have differing interpretations. Where Gerlin connects the two left hand notes together at the beginning of bar 15 (14L1-2), Leonhardt phrases the left-hand D3 (15L2) with the right-hand notes, creating a five-note pattern, rather than four. Leonhardt pauses slightly between the two slurred notes (15R1-2, 15R3-4), and then plays the three-note descending stepwise pattern quickly the first time (15R6-8). Like Gerlin, he plays a ritardando for the second three note pattern (15R14-16). Both Gerlin and Leonhardt’s recordings allow the sound to continue through to the final chord, but Leonhardt rolls the final chord slowly, pausing before he places the final F#4.
中文讲解
本段转向比较第15小节的最终终止式:Gerlin将15小节开头(14L1-2)两个左手音连在一起;Leonhardt则将左手D3(15L2)与右手音组成五音模式而非四音。他在两个连音(15R1-2,15R3-4)间略有停顿,首次三音下行(15R6-8)演奏迅速;第二次三音(15R14-16)做渐慢。两人均让声音延续至最终和弦,但Leonhardt慢慢滚奏最终和弦,在放置最终F#4前停顿。本段作用:展示终止式的个性化处理。
第28段（P0030）
原文复述
Both Sempé and Rousset resume this passage following one of their respective longer pauses and both interpretations replicate Leonhardt’s, executing the left-hand D4 with the right-hand notes (15R3-8). However, Sempé and Rousset continue the movement all the way through until the final descending passage (15R14-16). Sempé’s final chord is prefaced with a port de voix on the C#4 (15R16) and his spread is much faster than Leonhardt’s and Rousset’s, reflected in the timings (Table 5). Rousset’s final chord is executed similarly to Leonhardt’s – slowly and thoughtfully, although Rousset merges the second to last note (C#4) with the final chord.
中文讲解
本段继续比较Sempé与Rousset对第15小节终止式的处理:两人都模仿Leonhardt——将左手D4与右手音一起演奏(15R3-8),并将动态延续至最后的下行(15R14-16)。Sempé的最终和弦前有C#4(15R16)上的port de voix(倚音),其展开比Leonhardt和Rousset快得多;Rousset的最终和弦与Leonhardt相似——缓慢而沉思,但将倒数第二音(C#4)与最终和弦融合。
第29段（P0031）
原文复述
Tilney plays the left hand into the right hand (15L1-R4), while combining E4 and F4 in the right hand to create a trill before pausing on 15R5, a pattern he repeats on the next set of notes (15R11-12). He plays the descending passage quickly into the left-hand A3 (15L3) and continues the momentum into the G4 (15R13). For the final chord, Tilney starts on the higher left-hand D3, not placing the octave lower D2 until after the right hand has completed its spread up, and unlike Gerlin and Leonhardt, back down. All five performers accentuate the top notes of each group of notes, to create a descending melody of A4(15R5), G4 (15R13), concluding on the F#4 of the final chord.
中文讲解
本段分析Tilney对第15小节终止式的独特处理:他将左手接入右手(15L1-R4),右手将E4与F4结合成颤音后停在15R5,这一模式在下一组音(15R11-12)重复;他快速演奏下行至左手A3(15L3),并将动力延续至G4(15R13)。最终和弦,Tilney从较高的左手D3开始,待右手向上展开完成后再放置低八度D2(不同于Gerlin和Leonhardt的下行)。五人均强调每组音的最高音,形成A4(15R5)→G4(15R13)→终止于最终和弦的F#4的下行旋律。本段作用:完成终止式五种风格的对比。
第30段（P0032）
原文复述
Overall, placement of the last chord has not resulted in a longer duration of the first section; in fact, over time the interpretations of the first section have become shorter, as can be seen in Table 4. However, as the most recent recording, Rousset does differ from this trend by lengthening the final chord. The lack of increase is possibly because this is the closing chord of the section, rather than the final chord of the piece. However as noted for the first chord, performers are choosing to linger longer than in the earlier recordings, letting the resonance of the instrument speak for itself. These variances in length of the outer chords have not resulted in the first section duration becoming longer.
中文讲解
本段总结:最终和弦的位置未导致第一段时长变长;事实上,随时间推移,第一段诠释趋于更短(见表4),但Rousset(最新录音)例外地延长了最终和弦。作者推测这与该和弦为段落终止而非全曲终止有关。如同开篇和弦,演奏者选择比早期录音更长地停留,让乐器共鸣自然发声。外端和弦时长的变化并未使段落整体变长。本段作用:为和弦演奏方面作小结。
第31段（P0033）
原文复述
Musicians will often adjust the tempo of a piece to convey different affects of the music they are playing, but in this genre, the player can use a greater variety of tempos to present different musical ideas. Tempo is a crucial aspect of performance that is not addressed within the historical sources discussing the prélude non mesuré, and only once mentioned in the secondary literature. Tilney writes that the preludes are more aesthetically effective when played at a slower tempo, a theory supported by the direction of Froberger echoing Frescobaldi’s ’et se joue lentment’ (to be played slowly). Tilney goes on to discuss the placement and affect of notes and chords, rather than the overall tempo of the piece.
中文讲解
本段引入速度(tempo)因素:演奏家常调整速度以表达不同情感,但在此体裁中可运用更多样的速度来呈现不同的音乐观念。原始史料并未涉及prélude non mesuré的速度;二次文献中也仅Tilney一次提及——他认为较慢的速度更具美学效果,该理论由Froberger转述Frescobaldi的’et se joue lentement’(应缓慢演奏)所支持。Tilney后续讨论的是音符与和弦的位置及情感,而非全曲速度。本段作用:为速度方面的讨论铺垫,指出史料的空白。
第32段（P0034）
原文复述
With the advent of sophisticated recording equipment, we can now start to trace how chains of influence might develop by looking specifically at tempo. Gerlin’s 1950s interpretation is one of the longest first sections (2:20 min), and three decades later Leonhardt’s interpretation is thirty seconds shorter. By 2004, Sempé presents a significantly faster and rhythmically energised performance. Tilney aligns with his research by recording his version at 2:20 min, making for a longer interpretation. Rousset’s tempo mirrors that of Leonhardt, recorded at 1:53 min. Sempé’s recording is the most musically effervescent in employing the fastest tempo and is no less aesthetically effective, even though his performance is nearly a minute faster than those by Tilney and Gerlin. However, Sempé’s interpretation appears to be less concerned with some of the minimal directions relating to historical performance practice, as will be discussed.
中文讲解
本段借助现代录音设备追溯’影响链’:Gerlin(1950s)第一段时长2:20;三十年后Leonhardt缩短30秒;2004年Sempé显著更快且节奏充满活力;Tilney按其研究录制约2:20;Rousset(1:53)与Leonhardt接近。作者评价Sempé最快但不损美学效果,只是不太关注历史演奏实践的细节。本段作用:用具体数据展示速度倾向的演变及影响传承。
第33段（P0035）
原文复述
The resonance of the instrument is a further factor influencing the restriking of chords. Revival instruments such as the Pleyel harpsichord used by Gerlin are now considered antique, along with Gerlin’s style of playing. By the 1950s, replica harpsichords were being constructed in a more historically authentic way, as seen by the Zuckermann kits that were becoming available. The characteristics of a Pleyel instrument means that Gerlin’s performance has a different colour and tone quality to the other performances, resulting in a larger resonance than the instrument due to the material used to construct the Pleyel. This additional sound does not require Gerlin to restrike chords, just as Sempé’s chosen 8’, 8’, 4’ registration selection also removes the need to restrike due to the additional sound created by using three strings.
中文讲解
本段分析影响重击和弦的另一个因素——乐器共鸣:复兴乐器如Gerlin的Pleyel如今被视为古董;1950年代起,仿制大键琴(如Zuckermann套件)开始按更历史原真性的方式制作。Pleyel独特音色使Gerlin无需重击;同样,Sempé选择的8’、8’、4’音栓配置(三根弦)也产生足够共鸣,无需重击。本段作用:揭示’不重击’背后的乐器物理原因。
第34段（P0036）
原文复述
In summary, none of the five performers follows the advice of Lebègue to restrike chords to sustain harmonies in the first section of the Prélude non mesuré in D minor. Tilney restrikes the opening chord to sustain the sound, but this is the only point in the piece where he does. Gerlin and Sempé reinforce bass notes by adding octaves, Gerlin more frequently than Sempé. Leonhardt and Rousset do not restrike.
中文讲解
本段总结和弦演奏方面:五位演奏家均未遵循Lebègue关于重击和弦以维持和声的建议——Tilney仅在开篇和弦处重击(全曲唯一一次);Gerlin和Sempé通过添加八度来强化低音(Gerlin更频繁);Leonhardt与Rousset不重击。本段作用:为本方面作结论,并与作者后文’现代演奏者应不重击’的判断呼应。
第35段（P0037）
原文复述
Moroney, “Prélude Non Mesuré.”
中文讲解
脚注信息:Moroney,“Prélude Non Mesuré”。该脚注为P0033中Tilney引用Froberger转述Frescobaldi’et se joue lentement’的来源。
第36段（P0038）
原文复述
Howard Schott and Edward Kottick, “Zuckermann, Wolfgang Joachim,” Grove Music Online, Oxford University Press, 2014, accessed January 30, 2017.
中文讲解
脚注信息:Howard Schott与Edward Kottick,“Zuckermann, Wolfgang Joachim”,《Grove Music Online》,牛津大学出版社,2014年,访问日期2017年1月30日。该脚注支撑P0035中关于Zuckermann套件大键琴的论述。
第37段（P0039）
原文复述
Analytical reflection upon the primary source commentary and decisions made by performers regarding tempi suggests that historically-informed performances of the prélude non mesuré allow for a broad range of tempi, and should not be limited to a slower tempo, as stated by Tilney. By disregarding the source documentation advice to restrike chords, each performer is suggesting that they do not feel there was anything lacking harmonically in their interpretations that would require the reinforcement of a restruck chord or note. One can draw the conclusion that based on the interpretations of the five examples to not restrike chords, the most informed presentation of these préludes avoids following the source document instructions of restriking the chord, thus reducing the complexity of the interpretation
中文讲解
本段为分析与结论部分:对原始文献评论与演奏家速度决策的反思表明,基于历史的演奏应允许更宽的速度范围,不应被Tilney的’较慢速度’所限。每位演奏者忽视重击和弦的建议,表明他们认为诠释中和声上并未欠缺。基于五例不重击的样本,可得出结论:最具信息量的呈现方式反而是避免重击,从而降低诠释的复杂性。本段作用:为速度与和弦演奏两方面提供归纳性结论。
第38段（P0040）
原文复述
NOTE PLACEMENT
中文讲解
小节标题:‘NOTE PLACEMENT(音符位置)’。该标题开启了本节第二方面的分析——音符位置的处理。
第39段（P0041）
原文复述
L. Couperin wrote the préludes non mesurés to provide a performer with a template for an improvisatory form and each player marks their own personal performance stamp on these pieces by making the piece sound extemporised. Lebègue suggests that performers execute all the notes in the order that they are written, as previously provided on p.26 of this thesis.
中文讲解
本段引入note placement方面:L. Couperin写作préludes non mesurés是为演奏者提供即兴形式的模板,每位演奏者通过使作品听起来即兴而留下个人印记。Lebègue建议演奏者按所写顺序演奏所有音符(参见本论文第26页)。本段作用:为音符位置方面提供史料依据。
第40段（P0042）
原文复述
F. Couperin also recommends this straightforward approach in his preface to Troisième livre de pièces de clavecin:
中文讲解
过渡句:F. Couperin在其《Troisième livre de pièces de clavecin》序言中也推荐这种直接的方法。
第41段（P0043）
原文复述
Je suis toujours surpris (apres les soins que je me suis donné pour marquer les agrémens qui conviennent à mes Piéces, dont jày donné, àpart une explication assés intelligible dans une Méthode particuliere connüe sous le tutre de L’art de toucher le Clavecin) d’entendre des personnes qui les ont aprises sans s’y assujétir. C’est une négligence qui n’est pas pardonable d’auntant qu’il nést point arbitraire d’y mettre uls agremens quón veut. Je déclare done que mes piéces doiventêtre exéutées comme je les ay marquées: et quélle ne feront jamais une certaine impression sur les personnes qui ont le goût vray, tant quón n’observera pas a la letter, tout ce que j’y ay marqué, sans augmentation ni diminution.
中文讲解
F. Couperin的序言原文(法语):他对自己已仔细标注装饰、并另在《The Art of Playing the Harpsichord》中给出说明,却仍有人不遵守而演奏表示惊讶;称这种疏忽不可原谅,因为装饰的放置并非任意;声明其作品必须严格按所标注演奏,‘不多不少’,否则不能给有真品味的人留下印象。该引文作用:支撑’按记号演奏’的史料要求。
第42段（P0044）
原文复述
I am always surprised (after the care I have taken to indicate the ornaments appropriate to my pieces about which I have given, separately, a sufficiently clear explanation in a Method under the title The Art of Playing the Harpsichord) to hear people who have learned them without following the correct method. It is an unpardonable negligence, especially since it is not at the discretion of the players to place such ornaments where they want them. I declare therefore that my pieces must be played according to how I have marked them, and that they will never make a true impression on people of real taste unless played exactly as I have marked them, neither more nor less.
中文讲解
F. Couperin序言的英译版本:他对演奏者不遵守其装饰标记表示不可原谅的疏忽,声明作品必须’按所标记的样子’演奏,‘既不增加也不减少’。本段作用:以英文译文强化F. Couperin对按谱演奏的强烈要求。
第43段（P0045）
原文复述
Tilney, The Art of the Unmeasured Prelude for Harpsichord, France, 1660 - 1720. vol 3, 7.
中文讲解
脚注信息:Tilney,《The Art of the Unmeasured Prelude for Harpsichord, France, 1660-1720》,第3卷,第7页。该脚注支撑P0039中关于Tilney’较慢速度’观点的引用。
第44段（P0046）
原文复述
By addressing the persuasive conventions of the day relating to ornamentation, F. Couperin not only clarified his expectation that his music was complete as it stood on the score, but he also implied that performers took great liberties in adding further embellishments. Wanda Landowska is considered one of the earliest advocates for seventeenth and eighteenth-century repertoire and a leading figure in the revival of the harpsichord in the twentieth century. In 1964, when addressing Italianate music, she wrote that performers were to embellish and ornament extensively, and to fill in empty passages, as the works were incomplete and just a harmonic skeleton. In comparison of the five recordings, Gerlin is the only performer to create octaves, for example, in the final note of bar 3 where he includes the lower octave to the (3L8) D3 with D2. At bar 10 he doubles the 10L3 C3 in the left hand with the lower C2. This demonstrates Landowska’s influence on his interpretation, noting that Gerlin did often include additional harmonic notes, following Landowska’s teaching of performance techniques:
中文讲解
本段讨论F. Couperin与Landowska两种相反的诠释观念:F. Couperin认为乐谱已完整,演奏者不应随意添加;Landowska(1964)则认为17-18世纪作品只是和声骨架,需大量装饰与填充。在五位演奏家中,Gerlin是唯一添加八度者(如第3小节末在D3下加D2,第10小节10L3的C3下加C2),体现了Landowska的影响。本段作用:揭示Gerlin诠释的历史依据与F. Couperin原则的张力。
第45段（P0047）
原文复述
In the seventeenth and eighteenth centuries more liberty was left to performers and conductors than is today. . . . Interpreters . . . had to realize the figured bass, to ornament the adagios, to fill in the empty places in passages where the composer had merely indicated a harmonic skeleton. Without these additions the works were incomplete.
中文讲解
Landowska的引文(英文):她声称17-18世纪演奏者享有比今日更多的自由,需实现数字低音、装饰慢板乐章、填补作曲家仅给出和声骨架的’空白’,否则作品不完整。该引文支撑Gerlin诠释的合法性依据。
第46段（P0048）
原文复述
These examples of note-doubling appear to underline Gerlin’s understanding, possibly deriving from Landowska, that these passages are ’empty places’ in need of filling in. This alters the quality of the sound at points of harmonic interest, for example at 7L12 (F2) with the doubling making Gerlin’s performance ‘rather expressively colorful and majestic’. As previously noted, part of this colourfulness also comes from Gerlin’s changes of registration on the Pleyel harpsichord. The listener can often hear him swapping between the two manuals of the harpsichord and one also notes the inclusion of the four-foot stop.
中文讲解
本段继续分析Gerlin:其加八度的做法(可能源自Landowska)显示出他认为这些经过句’需要填补’,从而改变和声点的音色——如7L12(F2)的加八度使其演奏’富有表现力、华丽而庄严’。这种色彩还来自Gerlin在Pleyel大键琴上变换音栓(双键盘与四英尺音栓)。
第47段（P0049）
原文复述
Like Gerlin, Leonhardt and Sempé shift the placement of some notes, not always playing note after note, as suggested by Lebègue’s written references. In bar 12, these three performers place the 12R8 D4 before the G3 in the left hand (12L13) to close the D major harmony before moving through to the G minor chord. Tilney and Rousset play this bar as written without amending note placement. Bar 13 contains a tremblement symbol in the manuscript. Leonhardt omits this trill from his interpretation, and Rousset starts the trill from above.
中文讲解
本段比较五位对音符位置的处理:Gerlin、Leonhardt与Sempé会调整某些音符的次序(如第12小节将12R8 D4置于左手G3之前以巩固D大调);Tilney和Rousset按谱演奏;Leonhardt省略第13小节的颤音,Rousset则从上开始颤音。本段作用:呈现音符位置方面的多样化诠释。
第48段（P0050）
原文复述
David Tunley, François Couperin and “the Perfection of Music” (Aldershot, Hants, England: Ashgate Publishing, 2004), 106.
中文讲解
脚注信息:David Tunley,《François Couperin and ’the Perfection of Music’》(Aldershot:Ashgate Publishing,2004),第106页。该脚注为P0043-P0044中F. Couperin序言引文的来源。
第49段（P0051）
原文复述
Wanda Landowska, Landowska on Music, ed. Denise Restout (New York: Stein and Day, 1964), 94.
中文讲解
脚注信息:Wanda Landowska,《Landowska on Music》,Denise Restout编(纽约:Stein and Day,1964),第94页。该脚注支撑P0046中Landowska关于意大利风格音乐需大量装饰的论述。
第50段（P0052）
原文复述
Tsuruta, “Twentieth-Century Performance Practices of Préludes Non Mesurés by Louis Couperin.”, 108.
中文讲解
脚注信息:Tsuruta,《Twentieth-Century Performance Practices of Préludes Non Mesurés by Louis Couperin》,第108页。该脚注为P0047中Landowska关于'17-18世纪演奏自由’引文的来源。
第51段（P0053）
原文复述
Ibid., 111.
中文讲解
脚注信息:同上(指Tsuruta),第111页。该脚注为P0048中Gerlin演奏被形容为’富有表现力、华丽而庄严’的引文来源。
第52段（P0054）
原文复述
Sempé’s inclusion of additional notes and ornaments adds an air of unpredictability to the interpretation. He adds embellishing notes throughout this section, for example immediately adding a trill on bar 1 (1R16) having added an additional A at 1R15, to strengthen the A5 after the barline. He does not play the mordent 3L1, adding an appoggiatura instead. Bar 6 includes a trill with a turn on 6R1, and lower mordent on 6R5. He repeats the final three right hand notes of bar 8 (8R21-23). He adds trills to 9L5 and 9L7, and repeats the three right hand notes of bar 9 (9R5-7) mimicking the earlier pattern. Bar 11 (11R20) includes a trill. Bar 13 (13R3) includes the addition of a turn before completing the trill as written. Trills are added to 14R2 and finally 15R15. Sempé is the only performer to include additional ornaments, as Gerlin, Leonhardt, Tilney and Rousset play only the ornaments in the score. Sempé’s interpretation aurally expresses what Tilney conveys in writing regarding tempi: ‘Chords, too, can sound amazing if they are occasionally broken impetuously, even brutally, and surprise can be achieved just as well by delivering a chord fast and early, as by delaying it and playing it languidly’.
中文讲解
本段详述Sempé添加装饰与音符的具体做法(如第1、6、8、9、11、13、14、15小节),并指出他是五人中唯一添加谱外装饰者。Sempé的诠释听觉上体现了Tilney关于’和弦偶尔激烈甚至粗暴地分解、快速而早地呈现也可达到惊喜’的观念。本段作用:突出Sempé的个性化诠释及其与Tilney文字论述的呼应。
第53段（P0055）
原文复述
Gerlin (1950s), Leonhardt (1988) and Sempé (2004) have divergent interpretations of note placements throughout and Gerlin is the only performer to double notes. As noted above, the influence of Landowska on Gerlin’s interpretation is clear. This effect continues through several generations to the more recent recording by Sempé. The three performers who do deviate from practices discussed within the source instructions do not change the order of notes so much as to change the character of the piece, merely shuffle notes in order to accentuate harmonic points. This is not to say that the piece is lacking, and without the additions the piece is incomplete, as noted by Landowska. As the two most recent recordings, Tilney (2009) and Rousset (2010) are the only two performers to follow the commentary by Lebègue and F. Couperin precisely regarding note placement.
中文讲解
本段归纳:Gerlin、Leonhardt、Sempé对音符位置有分歧诠释(只有Gerlin加八度);Landowska的影响从Gerlin延续至Sempé。三位偏离原始建议者并未根本改变作品性格,只是调整音符以突出和声点。最新录音Tilney(2009)与Rousset(2010)是仅有的两位严格遵循Lebègue和F. Couperin记号者。本段作用:为音符位置方面作小结。
第54段（P0056）
原文复述
To conclude this section, whether it is following the source document specifically, or supplying what is lacking in an intelligent way by creating octaves, altering, or not altering note placements, each performer renders a convincing performance making these preludes accessible and intelligible for all listeners. However, noting that the two most recent examples do follow the commentary, one could surmise that the modern performer should in fact adhere to the source documentation regarding note placement, and present an interpretation that reflects the score.
中文讲解
本段作结:无论是严格按原始文献演奏,还是以添加八度、调整或不调整音符位置来’智能地’补充,每位演奏家都呈现了令人信服的诠释,使前奏曲对所有听众易懂。然而,鉴于最新两例遵循了文献,可推断现代演奏者应遵守关于音符位置的史料建议,呈现反映乐谱的诠释。本段作用:为note placement方面作最终结论。
第55段（P0057）
原文复述
Tilney, The Art of the Unmeasured Prelude for Harpsichord, France, 1660 - 1720. vol 3, 7.
中文讲解
脚注信息:Tilney,《The Art of the Unmeasured Prelude for Harpsichord, France, 1660-1720》,第3卷,第7页。该脚注支撑P0054中Tilney关于和弦可’激烈分解’的引文。
第56段（P0058）
原文复述
LINE INTERPRETATIONS
中文讲解
小节标题:‘LINE INTERPRETATIONS(连线的诠释)’。该标题开启本节第三方面的分析——连线(谱面中的延音线、保持线)的诠释。
第57段（P0059）
原文复述
Notated lines—different to the ones discussed on p. 30—within the préludes non mesurés have several meanings. They can be used to bind tones into harmonic groups, to indicate the length of time a note is to be held to preserve the harmonies while the other hand continues its movement, or to articulate cadential and rhythmic units. These scenarios create potentially limitless ways to perform these compositions. As noted on p. 26, Lebègue speaks to the use of slurs, suggesting a performer hold all notes enclosed within a slur in order to preserve the harmony of the piece. He also notes that the bindings (lines) indicate that the hand that does not have the movement remains held down while the other part continues moving forward. F. Couperin does not inform his readers how to interpret the lines.
中文讲解
本段引入连线(line)的多重含义:可绑定音为和声组;指示音符保持时间以维持和声;标示终止与节奏单位。这些用法造就了几乎无限的演奏可能。Lebègue建议保持连线内所有音符以维持和声,并说明连线表示’不动的声部在另一声部进行时保持按压’;F. Couperin则未说明连线诠释。本段作用:为连线方面提供史料依据及其模糊性。
第58段（P0060）
原文复述
There are factors that can influence a performer’s interpretation when using modern editions, as noted by Chung. The variances between visual appearance of the lines, whether curved or straight, and the spacing between notes and ornaments can result in differing approaches to interpretation. Wider spacing between notes that are connected harmonically can make it difficult for the performer to be able to identify them.
中文讲解
本段指出影响连线诠释的因素:Chung提醒注意,使用现代版本时,连线视觉外观(曲/直)、音符与装饰的间距差异会导致不同诠释;和谐连接的音符间距过宽可能使演奏者难以识别。本段作用:提示现代编辑可能引入诠释差异。
第59段（P0061）
原文复述
Taking into account the vertical and diagonal barlines, there are varying interpretations by the five performers (see earlier section ‘Multiple purposes of lines in the Préludes non Mesurés p.33). The first bar provides examples of single (tenues) and multiple (liaisons) lines. Gerlin’s interpretation of the first bar does not convey any sense that he is sonically communicating the varying uses of the lines. He does not hold the lowest D1 (1L1) through to the barline, but immediately releases it when he resounds the D2 (1L2). He does not hold B♭4 (1R3) or F4 liaisons through to the end of either line, and he does not slur any of the four patterns before the barline, and again after. His interpretation is thin, with generally only one left hand bass note being held while the right hand plays the melody. Leonhardt’s interpretation is quite different, as one can hear him holding on the left hand D1 and D2, sustaining the liaisons over the audible slurs. Sempé, Tilney and Rousset all interpret the lines in the same manner as their teacher Leonhardt.
中文讲解
本段比较五位对第一小节连线的诠释:Gerlin未在听觉上区分tenues与liaisons——不将最低音D1(1L1)保持至小节线,D2(1L2)重新发声即释放;不保持B♭4(1R3)或F4连线至末端;不连奏。其诠释’单薄’,通常仅一个左手低音被保持。Leonhardt则保持D1与D2,并将liaisons延续于可闻的slurs之上。Sempé、Tilney、Rousset均模仿其师Leonhardt的诠释。
第60段（P0062）
原文复述
Chung, “The Port de Voix in Louis Couperin’s Unmeasured Preludes: A Study of Types, Functions and Interpretation.”
中文讲解
脚注信息:Chung,“The Port de Voix in Louis Couperin’s Unmeasured Preludes: A Study of Types, Functions and Interpretation”。该脚注为P0060中关于连线视觉外观影响诠释的来源。
第61段（P0063）
原文复述
Ibid., 77.
中文讲解
脚注信息:同上(指Chung),第77页。该脚注为P0060中关于’间距过宽使演奏者难以识别’的来源。
第62段（P0064）
原文复述
After the opening chord, Gerlin continues through the barline, including notes 1R11 and 1R12, pausing slightly before placing the A2 (1L3). If written out this would place notes 1R11 and 1R12 before the barline, not after. Leonhardt pauses on the dominant A2, which is placed after the barline, thereby accenting the note that follows a barline. However, Tilney’s performance does not follow his own scholarly recommendation, as he does not pause at the barline. There is no sense of agogic accentuation or any other sense of arrival at this point, with no use of time, duration, dynamics or the delayed placement of the following note for accentuation. Sempé does acknowledge the barline with slight pauses both before and after the barline. As with Tilney, there is no audible confirmation of this first barline by Rousset, although he does hold slightly on 1R14, but this pause is not large enough to affect the forward movement being conveyed. This would suggest that the barline is simply explanatory and that it was inserted by L. Couperin to clarify结构, rather than as an audible instruction meant to be heard.
中文讲解
本段比较五位对小节线的诠释:开篇和弦后,Gerlin跨过小节线演奏1R11与1R12,在A2(1L3)前略停;Leonhardt在属音A2(置于小节线后)上停顿,强调小节线后之音;但Tilney未遵循其学术建议,小节线处无停顿;Sempé在小节线前后均稍停;Rousset无明显确认,但在1R14略保持。作者结论:小节线仅为L. Couperin的结构说明,而非听觉指令。本段作用:揭示小节线诠释分歧及其非音响性。
第63段（P0065）
原文复述
The longest horizontal line span within Prélude non mesuré in D minor encompasses nineteen notes and occurs in bars 5 and 9, with bar 5 also containing the second longest line of eighteen notes length. For all three of these examples, there is a melodic pattern that is executed quickly, and the long horizontal lines inform the performer that they need to hold out previous notes to ensure the harmonies support the melismatic passages. In bar 9, the pattern is a trill in the right hand (on D4/C4), and the line indicates that the F#4 be held while the tremblement is carried out. In bar 5 the first nineteen-note line is included with two additional lines (seventeen and sixteen notes long) to create an E diminished chord. This chord has a written-out trill underneath (fifteen notes centred around G3 and A3), finishing on the F3, which also happens to be the start of the thirteen-note ascending run. It is assumed that all features will be executed quickly to ensure the bass notes are audible at the completion of the trills and run. At bar 9 Leonhardt and Rousset both hold these notes until the line is finished, and the resonance of their respective instruments allows the bass notes to still be heard. Tilney and Gerlin do the same, however the resonance of their instruments is not as strong and the D1 at 9L8 can no longer be heard at the end of the line in either recording. As Sempé’s interpretation is quite fast, it is not as difficult for the notes to remain audible until the end of the line, and like Leonhardt and Rousset, Sempé holds the notes for the full length. None of the performers holds the notes any longer than the lines written in the manuscript.
中文讲解
本段分析最长水平连线(第5与第9小节):连线告诉演奏者保持先前音符以支撑花唱(melismatic)经过句。在第9小节,右手颤音(D4/C4)进行时需保持F#4;第5小节十九音连线结合十七、十六音连线形成减七和弦,下方有十五音颤音。Leonhardt与Rousset保持至连线末端且乐器共鸣使低音仍可闻;Tilney与Gerlin虽同样保持,但乐器共鸣较弱,D1(9L8)在线末端听不见;Sempé速度较快,保持全长度无困难。无人超出乐谱连线指示的时值。本段作用:展示最长连线的诠释差异与乐器共鸣的关联。
第64段（P0066）
原文复述
Although most of the recordings examined here follow Lebègue’s commentary, as we have seen, the duration of the first section varies significantly: 1:31 for Sempé to 2:20 for both Tilney and Gerlin. While such inconsistencies suggest that performers adhere to F. Couperin’s desire for intelligent players to provide an individual interpretation the genre of the prélude non mesuré, there are significant variances, resulting in the first section’s wide-ranging duration. Except Gerlin, all performers’ interpretations of the notated lines preserve the harmonies by not quitting the indicated notes as implied by the lines in the score. By not following the advice apparent in the primary sources, as with note placement instructions, Gerlin again reveals his avoidance of the historical sources. Therefore, the recommendation to modern performers is to adhere to the lines to ensure that the identified notes are articulated and held as indicated by the score, in order to convey a performance that preserves the harmonies.
中文讲解
本段为连线方面作结:多数录音遵循Lebègue的评论,但第一段时长差异显著(Sempé 1:31至Tilney/Gerlin 2:20)。除Gerlin外,所有演奏家都按谱面连线保持和声;Gerlin再次显示其回避史料。建议现代演奏者遵守连线,使标识的音符按谱面发音并保持,以呈现保留和声的诠释。本段作用:为line interpretations方面作归纳结论。
第65段（P0067）
原文复述
RHYTHMIC VARIETY
中文讲解
小节标题:‘RHYTHMIC VARIETY(节奏多样性)’。该标题开启本节第四方面的分析——节奏多样性。
第66段（P0068）
原文复述
Rhythmic variety in the context of the préludes non mesurés can address both the local rhythmic alteration, for example notes inégales, and broader tempo modifications, and both aspects are considered, looking at the variances of overall duration, along with the execution of notes inégales.
中文讲解
本段定义’节奏多样性’在préludes non mesurés中涵盖两方面:局部节奏变化(如notes inégales不等音符)与整体速度调整,本节将从整体时长差异与notes inégales的执行两方面考察。本段作用:为节奏方面提供分析框架。
第67段（P0069）
原文复述
Lebègue’s preface addresses the nature of the croches blanches preludes of L. Couperin and d’Anglebert. Gustafson suggests that following Lebègue’s written instructions would potentially make each interpretation sound the same, as there is no guidance to a play in a rhythmically uninhibited style. However, the nature of this genre precludes it from adherence to strict rules. F. Couperin wrote in a more structured notational style, in order to make the interpretation of the preludes accessible to the general public, while maintaining a feeling of liberation, giving rein to any whim a performer may desire, as noted on p. 27.
中文讲解
本段讨论节奏的史料基础:Gustafson指出,严格按Lebègue书面指示演奏可能使每种诠释听起来雷同,因无’节奏自由发挥’的指引;但该体裁性质排斥严格规则。F. Couperin以更结构化的记谱写作,使前奏曲对大众易懂,同时保持解放感与即兴发挥。本段作用:揭示节奏方面的史料与体裁特征的张力。
第68段（P0070）
原文复述
As noted under the section Compositional Style of the Prélude non Mesuré (Page 16), some of Couperin’s works can be identified as toccatas, due to the structure of the pieces (the outer two sections are rhythmically free, and the middle section is more contrapuntal, as is often the style of Italian toccatas.) Moroney identifies a further link between Couperin andFroberger when he compares the Prelude de Couprin a l’Imitation de Mr Froberger, which he notes is derived from Froberger’s first organ toccata, which can also be found in the Bauyn manuscript. Taking
中文讲解
本段引入体裁关联:如前所述(第16页),Couperin部分作品可识别为托卡塔,因外两段节奏自由、中段对位化(类似意大利托卡塔)。Moroney进一步联系Couperin与Froberger——比较Couperin的《Prelude de Couprin a l’Imitation de Mr Froberger》源自Froberger第一首管风琴托卡塔(亦见于Bauyn手稿)。本段作用:提供节奏自由的体裁历史背景。
第69段（P0071）
原文复述
Gustafson, “A Letter from Mr Lebegue Concerning His Preludes.”, 13.
中文讲解
脚注信息:Gustafson,“A Letter from Mr Lebegue Concerning His Preludes”,第13页。该脚注为P0069中关于’严格遵循Lebègue可能使诠释雷同’的来源。
第70段（P0072）
原文复述
Moroney, “The Performance of Unmeasured Harpsichord Preludes.”, 145.
中文讲解
脚注信息:Moroney,“The Performance of Unmeasured Harpsichord Preludes”,第145页。该脚注为P0070中关于Couperin与Froberger关联的来源。
第71段（P0073）
原文复述
Froberger’s opening chord, Couperin presents it in an arpeggiated embellishment, in the style of harpsichord playing, as addressed by Lebègue (Page 26). The variances in interpretations of the five selected performers can be seen on Page 48.
中文讲解
本段承接上文:Couperin将Froberger的开篇和弦以琶音装饰呈现,符合大键琴演奏风格(Lebègue所述)。五位演奏家诠释的差异可见第48页。本段作用:过渡到具体差异分析。
第72段（P0074）
原文复述
[Image data omitted; position and caption retained: Figure 24: Louis Couperin: Prélude non mesuré: A minor (opening passage) (Source: Moroney, 1976. The Performance of Unmeasured Harpsichord Preludes, p.146); Figure 23: Johann Froberger: Toccata Number 1 in A minor FbWV 101 (opening passage) (Source: Moroney, 1976. The Performance of Unmeasured Harpsichord Preludes, p.146)]
中文讲解
图23与图24占位符:并置Couperin的A小调prélude non mesuré开篇与Froberger第一首A小调托卡塔(FbWV 101)的开篇,来源均为Moroney 1976年第146页。原图未显示,仅保留图注与位置信息。
补充说明
需查看原图以确认两作品开篇材料的视觉对比。
第73段（P0075）
原文复述
As these preludes were aimed at a wide audience, ranging from amateur to experienced performers, both writers suggest that a performer should present the pieces in a rhythmically unencumbered style. Lebègue suggests that the performer’s interpretation may supply what might otherwise be lacking in a performance, and F. Couperin notes that he writes in measured time merely for ease of teaching and learning the prélude non mesuré.
中文讲解
本段总结Lebègue与F. Couperin的建议:鉴于前奏曲面向从业余到专业的广泛听众,两位作者建议以节奏无拘束的方式呈现;Lebègue认为演奏者可补充表演中可能欠缺的内容,F. Couperin说明用’有量记谱’仅为教学便利。本段作用:为节奏方面归纳史料依据。
第74段（P0076）
原文复述
This open form of notation was characteristic of the genre, and one could argue the information provided by Lebègue also comes in an obscure form. That Lebègue omitted these preludes entirely from his second harpsichord book published, in 1687 due to their lack of unambiguous performative instructions, suggests that performers contemporaneous with the author lacked the necessary expertise and knowledge required to execute imaginative interpretations.
中文讲解
本段评价Lebègue的信息:开放的记谱形式是该体裁特征,但Lebègue所提供的信息形式含混;其1687年第二册大键琴集中完全省略这些前奏曲,因其缺乏明确的演奏指示——这暗示作者同时代的演奏者缺乏执行想象性诠释所需的专业知识。本段作用:揭示史料与演奏传统之间的张力。
第75段（P0077）
原文复述
The French practice of notes inégales (unequal notes) was considered a means to add interest to melodic passages, without disturbing the metre. Although barlines are generally not included in préludes non mesurés, there is an unwritten pulse that a performer naturally conveys when interpreting, and despite affecting the melodic passages, notes inégales did not influence the pulse. The rhythmic division between the notes was left to the performer to decide, noting the character of the piece, and can range from barely detectable to double dotting.
中文讲解
本段引入notes inégales(不等音符)的概念:法国演奏实践将其作为不破坏节拍而增添旋律情趣的手段;préludes non mesurés虽通常无小节线,但演奏中自然传达一种’未写出的脉动’,notes inégales影响旋律但不改变脉动;节奏划分由演奏者依作品性格决定,可从几乎不可察至双附点。本段作用:为notes inégales分析提供概念框架。
第76段（P0078）
原文复述
Notes inégales is a widely-researched area, and without diverging too far down this path, it seems appropriate to reference key authorities, such as David Fuller and Frederick Neumann. Over the years inquiries have resulted in scholars amending their opinions to reflect new information and new interpretations of older sources. This can be seen in Neumann’s comments: ‘David Fuller, who earlier had himself pointed to the basic inégalité, reversed himself in the Grove articles by writing that, ‘…contrary to what is now often said, French inequality ran the gamut from barely perceptible to extremely dotted.’
中文讲解
本段提及notes inégales研究的关键学者David Fuller与Frederick Neumann,以及他们观点的演变:Neumann引述Fuller曾指出基本inégalité,后在Grove文章中修正为’法国不等音符涵盖从几乎不可察到极重附点的范围’。本段作用:表明notes inégales研究本身在不断修正。
第77段（P0079）
原文复述
The use of notes inégales provides a performer with a natural way to convey rhythmic variety. Gerlin’s use of the notes inégales style after the initial chord is not rhythmically regular and results in an unpredictable, jumpy, uneven feeling. Gerlin and Leonhardt both interpret the opening bar with the similar use of the notes inégales pattern, noting that Gerlin changes the note positions and employs a more severe use of notes inégales. However, Gerlin’s approach leads to a more improvisatory interpretation, which is also noted in reviews of his recordings. At 2L5 Gerlin waits on D3, before moving forward to the next three note passage, also executed with a strong lilt. He often pauses when he reaches the highest point of a musical statement, for example 4R19 – D5 and 5R4 – B♭4 (Fig 25) before continuing the passage:
中文讲解
本段分析Gerlin与Leonhardt对开篇小节notes inégales的使用:两者方式相似,但Gerlin改变音符位置,采用更强烈的inégalité;Gerlin的方式更具即兴感(评论中亦有提及)。在2L5,Gerlin在D3上等待再进入下一三音组(带强烈抑扬);他常在乐句最高点(如4R19 D5、5R4 B♭4)停顿。本段作用:具体展示Gerlin的节奏风格。
第78段（P0080）
原文复述
[Image/music score placeholder for page 15]
中文讲解
第15页图像或乐谱示例占位符。原图未显示,仅保留位置。
补充说明
需查看原图以确认谱例内容。
第79段（P0081）
原文复述
Neumann, “The Notes Inégales Revisited.”, 146.
中文讲解
脚注信息:Neumann,“The Notes Inégales Revisited”,第146页。该脚注为P0078中关于Fuller观点修正的引文来源。
第80段（P0082）
原文复述
Mellers, “French Classics on the Gramophone.”, 68.
中文讲解
脚注信息:Mellers,“French Classics on the Gramophone”,第68页。该脚注为P0079中关于Gerlin诠释被评论为’即兴’的来源。
第81段（P0083）
原文复述
With the later recordings, the performers’ fluid interpretation of the score results in a clear sense of direction being communicated towards points of interest. There is not the prolonged anticipation for the next note, as demonstrated by Gerlin. Gerlin’s recording has a constant fluctuation of the beat, faster and then slower, and this is one aspect that may have differed had Gerlin had access to the information that became available through more recent scholarship. Where there are florid melodic passages, the remaining four recordings maintain a regular feel, all using notes inégales stylistically throughout this first section.
中文讲解
本段比较Gerlin与后期录音:后期演奏家对乐谱的流畅诠释清晰指向兴趣点,无Gerlin那种’下一音的延宕预期’;Gerlin的录音节奏持续波动(快-慢),若其能接触更近期学术信息,这一方面可能不同。其余四人在花唱乐句中保持规律感,均风格化地使用notes inégales。本段作用:展示Gerlin风格与后期风格的差异及学术资源的影响。
第82段（P0084）
原文复述
As noted, there is significant variances between the duration of the first section that are also reflected in the overall interpretation. Tilney (6:33 min) and Gerlin (6:50 min) record the longest versions of the first section, reinforcing Tilney’s belief that the ‘preludes are better played too slowly than too fast’. However, for the full piece, there are only two examples that are longer than Gerlin and Tilney recordings. Both were recorded in 2003, by Glen Wilson (6:55 min) and Byron Schenkman (7:18 min). At the other end of the scale, Sempé’s first section (4:55 min) is one of the fastest of the five analysed examples and there is only one recording that is faster than his, by Nicholas Jackson (4:33 min) in 1982.
中文讲解
本段比较时长数据:Tilney(6:33)与Gerlin(6:50)的第一段最长,支持Tilney’前奏曲宁慢勿快’的观点;全曲仅Wilson(6:55)与Schenkman(7:18)更长;最快者为Jackson(1982,4:33),Sempé(4:55)其次。本段作用:用更广的录音目录数据对照五位分析对象。
第83段（P0085）
原文复述
Although the duration of Rousset’s first section is 1:53min, he executes a notably long pause of five seconds in bar 14 after the first arpeggiated chord (14R8) and another four second pause at the end of the same bar (14L9 – 14R18). Had he chosen to reduce these两 pauses, his recording may have been placed further up the chart, sitting approximately around a similar time to van Asperen’s two recordings.
中文讲解
本段说明Rousset的特殊情况:其第一段时长1:53,但在第14小节包含两个长停顿(第一个琶音和弦后5秒、14L9-14R18末尾4秒);若减少这些停顿,其录音可能上升至与van Asperen两版录音相近。本段作用:解释Rousset时长偏长的具体原因。
第84段（P0086）
原文复述
Unlike the similarly-timed recording by Rousset, Leonhardt’s 1.50min first section does not have the pauses. Leonhardt’s interpretation generates a perpetual feeling of moving forward and minimal lingering on points of harmonic interest, as do all the other recordings. Sempé’s execution combines energy with stillness moments, reflecting the vivid harmonic characters of the music, for example 3L1, a moment where he also plays a different ornament from that notated in the score, repeating the G3.
中文讲解
本段对比:Leonhardt的1:50第一段无停顿,产生持续前进感、最小限度停留在和声点;Sempé将活力与静态结合,反映生动的和声性格(如3L1处重复G3,与谱面装饰不同)。本段作用:呈现两位演奏家在节奏与停顿上的对比。
第85段（P0087）
原文复述
David Fuller, “You Can’t Prove It by Notation,” The Diapason lxxii, no. 3 (1981).
中文讲解
脚注信息:David Fuller,“You Can’t Prove It by Notation”,《The Diapason》第72卷第3期,1981年。该脚注为P0083中关于Gerlin若能接触更近期学术信息可能不同论述的来源。
第86段（P0088）
原文复述
Tilney, The Art of the Unmeasured Prelude for Harpsichord, France, 1660 - 1720. vol 3, 7.
中文讲解
脚注信息:Tilney,《The Art of the Unmeasured Prelude for Harpsichord, France, 1660-1720》,第3卷,第7页。该脚注为P0084中关于Tilney’宁慢勿快’观点的来源。
第87段（P0089）
原文复述
The listener can hear the influence of Tilney’s research in his interpretation. ‘The player has only two further important things to keep in mind: first, that the sound of the harpsichord, especially the decay of essential bass harmonies, will often influence his timing and shape his phrasing; and second, that he should be aware from first note to last that his business is to compose, not to perform’. This comment means that a performer should consider the music as though he is improvising it for the first time, and not as though it has been rehearsed numerous times. Although his melismatic passages are measured and thoughtful with a strong pulse, there is a sense of space around each音乐观念. He also pauses on moments of harmonic interest created by the temperament, for example 4R20-21 where the melody moves from A4 through B♭4, to pause slightly on F#4. It is as if the listener can sense Tilney considering the harmonic implications of the next note. Tilney often speeds up a descending passage as it progresses, creating the feeling of momentum towards a harmonically significant point (2L1-9) (see Fig. 26):
中文讲解
本段分析Tilney诠释中其研究的影响:他引述’演奏者应记住两件事:大键琴声音(尤其基本低音和声的衰减)影响其节奏与乐句;从首音至末音应意识到自己的任务是作曲而非演奏’。这意味着应以’首次即兴’而非’反复排练’的心态诠释。其花唱经过句有衡量、深思、强脉动,但每乐思周围有空间感;他在律制产生的和声兴趣点(如4R20-21,A4→B♭4,在F#4上略停)停顿,显示考虑下一音的和声含义;常在下行乐句中渐快,产生推向和声要点的动力感(2L1-9)。
第88段（P0090）
原文复述
[Image data omitted; position and caption retained: Figure 26: Louis Couperin: Prélude non mesuré: D minor (Bar 2) (Source: Tilney, 2009. Volume 2 Modern Transcriptions, p.2)]
中文讲解
图26占位符:Louis Couperin D小调prélude non mesuré第2小节(来源:Tilney,2009,第2卷《Modern Transcriptions》第2页)。原图未显示,仅保留图注与位置信息。
补充说明
需查看原图以确认第2小节谱例。
第89段（P0091）
原文复述
Leonhardt’s overall interpretation can be summed up in a personal observation of his playing style: ‘coolly dispassionate and austere a style’. The influence of both Leonhardt and Gerlin can be heard in the recordings of the later performers. Gerlin’s sense of climax and conception of mood is reflected in the interpretation of Rousset and Sempé. Both older recordings provide influence on the later versions, as previously noted in the review by James Leonard.
中文讲解
本段归纳Leonhardt的整体诠释:‘冷静、超然、严肃的风格’;Leonhardt与Gerlin的影响均可在后期演奏家的录音中听到——Gerlin的高潮感与情绪构思反映于Rousset与Sempé;James Leonard的评论亦指出两版较早录音对后期版本的影响。本段作用:总结Leonhardt风格及代际影响。
第90段（P0092）
原文复述
The four sequential chords at 9L10-10L11 are of rhythmic interest. Gerlin moves the placement of notes at the beginning of this section: he places 9R18 and 9R19 before the left-hand E3 (9L11) linking E3 instead with C3 and E3 afterwards (10L1 and 10L2), to accentuate the A minor chord.
中文讲解
本段分析第9L10-10L11处四个连续和弦的节奏趣味:Gerlin调整音符位置——将9R18与9R19置于左手E3(9L11)之前,再将E3与C3、E3(10L1与10L2)相连,以突出A小调和弦。本段作用:展示Gerlin具体的节奏调整。
第91段（P0093）
原文复述
Tilney, The Art of the Unmeasured Prelude for Harpsichord, France, 1660 - 1720. vol 3, 7.
中文讲解
脚注信息:Tilney,《The Art of the Unmeasured Prelude for Harpsichord, France, 1660-1720》,第3卷,第7页。该脚注为P0089中Tilney关于’任务是作曲而非演奏’引文的来源。
第92段（P0094）
原文复述
Lionel Salter, “Gustav Leonhardt Obituary,” The Guardian, 2012.
中文讲解
脚注信息:Lionel Salter,“Gustav Leonhardt Obituary”,《卫报》,2012年。该脚注为P0091中关于Leonhardt风格描述的来源。
第93段（P0095）
原文复述
Leonard, “CD Review: Skip Sempe Plays Louis Couperin.”
中文讲解
脚注信息:Leonard,“CD Review: Skip Sempe Plays Louis Couperin”。该脚注为P0091中关于较早录音影响后期版本的来源。
第94段（P0096）
原文复述
He also doubles the left-hand with octaves for the structural notes: C3, B2 and C2 (10L3, 5 and 7), leaving the other left-hand notes (10L4 and 6) to create a homophonic sound to the recording. It takes 3.93 seconds for Gerlin to play this passage.
中文讲解
本段延续对Gerlin的分析:他对结构性音(C3、B2、C2,即10L3、5、7)使用八度加强,其余左手音(10L4、6)创造齐奏音响;此段演奏耗时3.93秒。本段作用:进一步展示Gerlin在节奏段落的诠释细节。
第95段（P0097）
原文复述
Leonhardt holds the second group of chords at 10L3-10L7 slightly longer than Gerlin, but this is a small variance, taking 4.25 seconds. In Sempé’s interpretation, this passage is one of the few moments of stillness. His execution of the two chords at 9L10 – 10L3 is 3.06 seconds, which feels like a long pause. Tilney’s execution is longer at 3.76 seconds, although due to the slower nature of his playing this emphasis is not as noticeable as it is in Sempé’s recording. Rousset’s is the fastest at 2.63 seconds. This brevity of pauses may indicate that Leonhardt was influenced by Gerlin, which in turn led to Rousset to be influenced by Leonhardt, maintaining a performing tradition across the three generations.
中文讲解
本段对比五位在第10L3-10L7段的时长:Leonhardt(4.25秒)略长于Gerlin;Sempé(3.06秒)是少数静态时刻之一,感觉如长停顿;Tilney(3.76秒)稍长,但慢速使其不如Sempé明显;Rousset最快(2.63秒)。作者推测这表明Leonhardt受Gerlin影响,Rousset又受Leonhardt影响,三代间维持演奏传统。本段作用:用时长数据揭示代际传承链。
第96段（P0098）
原文复述
Although the préludes non mesurés do not provide significant amounts of melodic passages, each performer presents an interpretation that is rhythmically varied, as determined by their stylistic awareness of interpretive practices available at the time of their recording. Each interpretation reflects F. Couperin’s advice to play ‘in a free, easy style, not sticking too closely to the exact time.’ Of the selected recordings, Gerlin’s use of notes inégales is the most radical, with an extremely dotted interpretation taking place. In Leonhardt’s 1988 recording the interpretation of the notes inégales is barely perceptible, suggesting perhaps that he was influenced by Fuller’s 1981 publication on rhythmic alteration. It is also true that adopting Fuller’s theories means inequality is more appropriate to measured music, a distinction perhaps lost on Gerlin’s performance style.
中文讲解
本段归纳节奏方面的诠释:虽préludes non mesurés旋律段不多,每位演奏家仍呈现节奏多样化诠释,反映其录音时可获得的诠释实践认知。每人诠释均体现F. Couperin’自由轻松、不严格按精确时值’的建议;Gerlin的notes inégales最为激进(极重附点);Leonhardt(1988)的inégales几乎不可察,可能受Fuller 1981年论节奏变化文章影响;接受Fuller理论意味着inégales更适用于有量音乐——这一区分Gerlin的风格或许未意识到。本段作用:归纳节奏方面的关键差异及其学术背景。
第97段（P0099）
原文复述
To conclude this section, within all performers’ interpretations rhythmic flexibility is apparent, both regarding local rhythmic alteration and broader tempo modifications. This adheres to the commentary provided in primary sources regarding rhythmic pliability. While Sempé and Rousset’s interpretations are more adventurous and playful, they replicate the slower tempo of the older generation of keyboardists. Although there is a strong rhythmic sensibility in the earliest录音, Gerlin presents an interpretation that lacks the finer awareness of stylistic practices such as subtle use of notes inégales evidenced in the Leonhardt recording. The earlier supposition that there would be greater rhythmic variety is, in fact, incorrect. Overall, the interpretations are rather similar, perhaps owing to the increased availability of primary sources, historical documents and overlapping pedagogical influences. The surveyed performers evidently observe aspects of F. Couperin’s preface with varying degrees of overall and more localised rhythmic flexibility suggestive of the players’ informed historical awareness and manner of performance. These variances in rhythm also create a more improvisatory interpretation of the préludes non mesurés.
中文讲解
本段为节奏多样性方面作结:所有诠释均呈现节奏灵活性(局部变化与整体速度),符合原始文献关于节奏可塑性的评论;Sempé与Rousset虽更冒险、俏皮,但仍复制老一辈演奏家的较慢速度;Gerlin虽有节奏感,但缺乏Leonhardt录音中表现出的对风格实践(如微妙的notes inégales)的更精细意识;此前关于’更大节奏多样性’的假设事实上并不成立——整体诠释相当相似,可能因原始史料、历史文献的可得性增加与教学影响的重叠;每位演奏家以不同程度的整体与局部节奏灵活性,体现F. Couperin序言的精神;这些节奏变化也使préludes non mesurés的诠释更具即兴性。本段作用:为节奏方面提供最终结论。
第98段（P0100）
原文复述
Couperin, L’Art de Toucher Le Clavecin. 33.
中文讲解
脚注信息:Couperin,《L’Art de Toucher Le Clavecin》,第33页。该脚注为P0098中关于F. Couperin’自由轻松、不严格按精确时值’引文的来源。
第99段（P0101）
原文复述
Fuller, “You Can’t Prove It by Notation.”
中文讲解
脚注信息:Fuller,“You Can’t Prove It by Notation”。该脚注为P0098中关于Leonhardt可能受Fuller 1981年文章影响的来源。
第100段（P0102）
原文复述
CONCLUSIONS
中文讲解
小节标题:‘CONCLUSIONS(结论)’。该标题开启了本章的结论部分,总结分析结果并联系作者自身的诠释实践。
第101段（P0103）
原文复述
The purpose of this section is two-fold. It will address how the results have informed my own interpretive practice and it will establish conclusions based on the analysis completed in Chapter Two.
中文讲解
本段说明结论部分的双重目的:一是说明结果如何影响作者自身的诠释实践,二是基于第二章的分析建立结论。
第102段（P0104）
原文复述
Having performed the Prélude non mesuré in D minor in various settings over the course of this study, I attempted to follow, then not to follow, the source documentation advice. I have been influenced by lessons with mentors around the world, by the source material, reading about the development of performance practice, and listening to recordings. All these avenues have contributed to my changing understanding of the facsimiles and how to interpret them, based on the methodologies of Bowen and Emmerson. Emmerson considers the different approaches in regard to fortepiano and modern piano, and the methodology utilized in this thesis is specific to harpsichord. However, there are similarities between the two approaches, including listening to recordings and have having lessons with experts.
中文讲解
本段为作者反思:在本研究过程中于不同场合演奏D小调prélude non mesuré,先尝试遵循原始文献建议,再尝试不遵循;受世界各地导师课程、原始材料、表演实践发展阅读及录音聆听的影响;这些都贡献于作者对 facsimile 理解的转变(基于Bowen与Emmerson方法论)。Emmerson考虑古钢琴与现代钢琴的不同方法,本论文方法学专为羽管键琴;但两者有相似之处,包括聆听录音与专家授课。
第103段（P0105）
原文复述
As Cook notes, the performance goes beyond the score. However, the score is a fundamental component of this intriguing genre and I have played using both the manuscript facsimiles and modern editions, and every performance is a unique experience.
中文讲解
本段引用Cook:‘表演超越乐谱’;然而乐谱是这一引人入胜体裁的基本组成部分;作者同时使用手稿 facsimile 与现代版本演奏,每次演奏都是独特体验。
第104段（P0106）
原文复述
During the practical component, I have made conscious decisions throughout this process. I have considered the four source document references. When focusing on restriking the chords, I found there were several factors that contributed to my execution. Instrument resonance was a strong determinant, as when an instrument was more resonant I felt the performance did not require the chord to be restruck. However, when the venue had poorer acoustics, or when there was an audience in the venue, it was necessary to restrike chords, or more specifically bass structural notes, to ensure that harmonics were maintained – for example restriking 9L8 when playing 9L9. Following the conclusion to not restrike chords, I intend to follow this advice when performing the Prélude non mesuré in D minor in order to present an aural performance that is as simplistic as its visual representation, as noted by Lebègue.
中文讲解
本段详述作者在重击和弦方面的决策:乐器共鸣是重要决定因素——共鸣强则无需重击;但当场地声学差或有观众时,需重击和弦(尤其低音结构音)以维持和声(如9L9演奏时重击9L8)。基于’不重击’的结论,作者打算在演奏D小调prélude non mesuré时遵循此建议,以呈现如Lebègue所述的’与视觉表征一样简约’的听觉表演。
第105段（P0107）
原文复述
Bowen, “Finding the Music in Musicology: Performance History and Musical Works.”
中文讲解
脚注信息:Bowen,“Finding the Music in Musicology: Performance History and Musical Works”。该脚注为P0104中方法论引用的来源。
第106段（P0108）
原文复述
Emmerson, Around a Rondo: Preparing Mozart’s Rondo in A Minor for Performance on Fortepiano.
中文讲解
脚注信息:Emmerson,《Around a Rondo: Preparing Mozart’s Rondo in A Minor for Performance on Fortepiano》。该脚注为P0104中方法论引用的来源。
第107段（P0109）
原文复述
Cook, Beyond the Score. Disc 1.
中文讲解
脚注信息:Cook,《Beyond the Score》,Disc 1。该脚注为P0105中’表演超越乐谱’引用的来源。
第108段（P0110）
原文复述
Troeger, “The French Unmeasured Harpsichord Prelude.”, 92.
中文讲解
脚注信息:Troeger,“The French Unmeasured Harpsichord Prelude”,第92页。该脚注为P0106中关于Lebègue’与视觉表征一样简约’论述的来源。
第109段（P0111）
原文复述
Note placement was an interesting component to consider, as I found it was the most naturally flexible, and once I had completed the analysis of the manuscripts, I made conscious decisions as to whether to include or remove notes, considering factors such as the instrument at my disposal and the acoustics. At 10R7-8 the Parville manuscript includes a C4, which I chose to include in my interpretation, as the C4 acts as the leading note to the D4 tonic (see Fig. 15). I also chose to keep the additional G4 at 11R10 which is written in the Bauyn manuscript but not the Parville, as this echoes the three-note pattern immediately preceding 11R10, and at the beginning of the bar (11R1-3).
中文讲解
本段详述作者在音符位置方面的决策:这是最自然灵活的部分;分析手稿后,作者有意识地决定是否包含或删除音符,考虑乐器与声学因素。如选择保留Parville手稿中的C4(10R7-8),因其作为D4主音的导音;也保留Bauyn手稿中11R10的额外G4(Parville无),因其呼应其前三音模式及11R1-3的开头模式。
第110段（P0112）
原文复述
A further point where I have chosen to alter the note placement is bar 12, where L. Couperin writes a D major7 chord followed immediately by a G minor chord (12L10-12L13). I have chosen to place 12L12 (B♭2) before 12R8 (D4), in order establish the G minor harmony before the 12R9 (B♭3) is played. This preference means that the 12L12 is heard before the following two right hand notes, and it alters the pattern of two notes in the left hand followed by two notes in the right hand. It is a small adjustment, which is my personal preference and does not require strict adherence.
中文讲解
本段详述作者在第12小节的音符位置调整:L. Couperin写D大7和弦后立即接g小调和弦(12L10-12L13);作者选择将12L12(B♭2)置于12R8(D4)之前,以便在12R9(B♭3)演奏前确立g小调和声;这意味着12L12在紧随的两个右手音之前被听见,改变了’左手两音后右手两音’的模式。这是个人偏好,不必严格遵守。
第111段（P0113）
原文复述
Ornaments required a great amount of attention, due to the varying methods of presenting them. My execution of these ornaments changed, following the analysis identifying the additional ornaments embedded in the notation. My execution of ornaments became faster and played with more emphasis on the note directly following them. There was also the decision as to whether the written out tremblements were in fact to be executed with the exact number of turns or to be considered more of a suggestion. Following discussion with teachers, I have chosen to interpret the written out tremblements as though they were indicated by the symbol.
中文讲解
本段详述作者对装饰的处理:装饰需大量关注,因呈现方式多样;分析识别记谱中嵌入的额外装饰后,作者的装饰执行变得更快速,且更强调其后的音;还需决定写出的颤音是按精确的turn数执行还是视为’建议’;经与教师讨论,作者选择将写出的颤音视为颤音符号所示那样诠释。
第112段（P0114）
原文复述
I observed that my earlier interpretations were less spontaneous and that as my knowledge increased, my playing started to more clearly reflect the ideas of Lebègue and F. Couperin and that my imagination was more engaged in the process. To state confidently that I will not adjust note placements would possibly do any future interpretations a disservice, as I may find myself not participating in, or contributing to the music, and being too concerned with following note order to let the music speak for itself, and it was a spontaneous action that resulted in my decision to alter the placement in bar 12.
中文讲解
本段作者反思:早期诠释较少自发性;随着知识增加,演奏更清晰反映Lebègue与F. Couperin的思想,想象也更投入过程;若自信宣称不会调整音符位置,可能对未来的诠释不利——可能发现自己未参与音乐或贡献于音乐,过于拘泥音符顺序而不让音乐自身说话;正是自发行动促使作者决定调整第12小节的音符位置。
第113段（P0115）
原文复述
Line interpretation also required consideration of both the facsimiles and the modern scores. The modern scores were too specific, often with lines finishing at the same point in the score, or shortly after one another. Visually, the manuscript offered me the ambiguity the genre suggests, and I was able to play with more imagination when I was using the facsimiles. As an outcome derived from this study, the harmonies created in the Prélude non mesuré in D minor should be allowed to linger. One particular point is bar 14, where L. Couperin moves from the dominant A major to an E diminished chord following a scale passage. The barrenness of the solo A4 at the top of the descending scale, followed by the surprise of the G minor chord (with E♭4) is enhanced by a longer pause at 14R8, with all the previous notes in this bar held over until the instrument stops ringing, and the keys are released together. The lines also影响 phrasing and required interpretation as to when the tempo required modification and the piece needed to move or be static. Additionally, notes that required accentuation needed to be identified and emphasised for the audience to be able to hear them.
中文讲解
本段详述作者对连线的诠释:需同时考虑 facsimile 与现代版本;现代版本过于具体,连线常在同一位置结束或紧随;手稿的视觉模糊性使作者在使用 facsimile 时能更具想象力演奏。研究结论:D小调prélude non mesuré中创造的和声应被允许停留;特别在第14小节,L. Couperin从A大调主音移至减七和弦,下行音阶顶部独奏A4的’空寂’与G小调(含E♭4)的’惊喜’由14R8处长停顿强化——所有本小节先前音保持至乐器停响后键同时释放;连线也影响乐句,需诠释速度何时需修改、作品何时需动静;此外需识别需强调的音,让观众能听见。
第114段（P0116）
原文复述
Rhythm was the hardest aspect to reflect on, as each rendition is different. My durations ranged from 1:40 min to 2:40min. I attempted to perform an interpretation at the speed of Sempé, however I found that this tempo was too fast for me, and that I preferred to be able to linger more than to race through the melismatic passages. I also attempted an extremely long rendition, but I found that the instrument was not able to maintain the harmonies and that the recording became quite empty and lacking in any clear direction. I used notes inégales whenever there was a scalic passage, but not when the notes形成 a chord. Upon identifying written out coulés, I noticed my interpretation changed at 4R16-18 and 6R15-17. I presented this pattern of three notes more quickly, rather than as part of the melody.
中文讲解
本段作者反思节奏:节奏最难反思,因每次演奏都不同;作者时长从1:40到2:40不等;尝试Sempé速度但觉得过快,宁愿多停留而非快速通过花唱段;也尝试极长版本,但乐器无法维持和声,录音显得空洞、缺乏清晰方向;每当有音阶段时使用notes inégales,音符形成和弦时则不用;识别写出的coulés后,作者在4R16-18与6R15-17的诠释发生变化,将三音模式演奏得更快,不再作为旋律的一部分。
第115段（P0117）
原文复述
Prior to completing this research, my interpretations were uninformed by historical document and contemporary recordings. I had limited understanding of implications evident within the points raised by Lebègue and F. Couperin, and my performance imitated views expressed by my teacher, rather than presenting my own interpretation. Throughout the practical component of this research, I have applied the source elements discussed in various combinations to create a framework of understanding through conscious decisions. I have attempted to add additional notes and ornaments, attempted to restrike chords as recommended to maintain harmonic structure, to hold notes for a longer or shorter period than directed by the lines and to alter the rhythm. At all times, my imagination has been an integral part of the interpretive process. As noted by Bowen, ‘Investigating performance styles is a natural extension of the initial charter of examining compositional styles. Indeed, it provides an opportunity to integrate the analysis of compositions with an understanding of how they were performed and perceived’. By investigating performance styles, this enquiry has deepened my understanding of the prélude non mesuré, and I feel more confident in my interpretation, knowing that I am performing this genre with a greater awareness of historical principles and with a strong sense of imagination, artistry and awareness. As Emmerson notes, such an approach means I can now create a performance that is imbued with spontaneity and inspiration.
中文讲解
本段作者综合反思:完成本研究前,作者诠释未受历史文献与现代录音启发;对Lebègue与F. Couperin论点中的含义理解有限,表演模仿教师观点而非呈现个人诠释。通过本研究的实践部分,作者以有意识的决策将所讨论的史料元素以不同组合应用,建立理解框架;尝试添加额外音符与装饰、按建议重击和弦以维持和声结构、按连线指示延长或缩短音符保持时间、改变节奏;想象力始终是诠释过程的组成部分。Bowen指出:研究表演风格是审视创作风格的自然延伸,提供机会将作品分析与对其如何被演奏与感知的理解整合。通过研究表演风格,本探究深化了作者对prélude non mesuré的理解,对诠释更有信心——以更强的历史原则意识、想象力、艺术性与觉察演奏该体裁;Emmerson指出,这种方法意味着作者能创造充满自发性和灵感的表演。
第116段（P0118）
原文复述
Richard Taruskin, “On Letting the Music Speak for Itself: Some Reflections on Musicology and Performance,” The Journal of Musicology 1, no. 3 (1982): 340.
中文讲解
脚注信息:Richard Taruskin,“On Letting the Music Speak for Itself: Some Reflections on Musicology and Performance”,《The Journal of Musicology》第1卷第3期(1982年),第340页。该脚注为P0114中关于’让音乐自身说话’论述的来源。
第117段（P0119）
原文复述
Before commencing the current project, I believed a significant variance in interpretive style would emerge in the recordings over fifty years. During this research, my assumptions have vacillated. When listening to the sampled performances initially, similarities in interpretive style came to the fore. However, as my analysis of historical sources grew, I began to listen to the recordings in a new light. Themes including the variances in the inclusion of additional notes by each performer, or the large discrepancy in the time taken to execute the first section based on the length of notes, began to emerge. Underpinned by a broader understanding of the source documentation, my analysis of the performances revealed fresh artistic nuances and significant contrasts in interpretations, including the divergent use of notes inégales, subtle differences in line interpretations and the lack of digression when restriking chords.
中文讲解
本段作者回顾研究过程的态度转变:开始本项目前,作者相信五十年录音中诠释风格会出现显著差异;研究过程中,作者假设有所动摇。最初听样例演奏时,诠释风格的相似性占主导;但随着对历史文献分析的增长,作者开始以新视角听录音;主题开始浮现——每位演奏家添加额外音符的差异、第一段执行时长的巨大差异(基于音符长度);在对原始文献的更广理解支撑下,作者对演奏的分析揭示了新的艺术细微差别与诠释对比,包括notes inégales的不同使用、连线诠释的微妙差异、重击和弦时的缺乏离题。
第118段（P0120）
原文复述
Given advances in historical research, the recorded performances examined demonstrate a keen awareness of stylistic and notational practices of the period. The current thesis establishes the prélude non mesuré as a free-spirited work that moves beyond the confines of strict notation. Similarly, it ascertains that the expert practitioners sampled employ an autonomous form of interpretation based upon stylistic awareness of the sources, primarily F. Couperin’s: ‘A Prelude is a free composition, in which the imagination gives rein to any fancy that may present itself’.
中文讲解
本段为总体结论之一:鉴于历史研究的进步,所考察的录音表演显示对该时期风格与记谱实践的敏锐意识;本论文确立prélude non mesuré为超越严格记谱束缚的自由精神作品;同样确认所采样的专家演奏家采用基于原始文献风格意识的自主诠释形式,主要依据F. Couperin:‘前奏曲是自由作品,想象可驰骋于任何出现的奇想’。
第119段（P0121）
原文复述
Bowen, “Finding the Music in Musicology: Performance History and Musical Works.”, 450.
中文讲解
脚注信息:Bowen,“Finding the Music in Musicology: Performance History and Musical Works”,第450页。该脚注为P0117中Bowen关于’研究表演风格是审视创作风格的自然延伸’引文的来源。
第120段（P0122）
原文复述
Emmerson, Around a Rondo: Preparing Mozart’s Rondo in A Minor for Performance on Fortepiano. Disc 1.
中文讲解
脚注信息:Emmerson,《Around a Rondo: Preparing Mozart’s Rondo in A Minor for Performance on Fortepiano》,Disc 1。该脚注为P0117中Emmerson关于’充满自发性和灵感’论述的来源。
第121段（P0123）
原文复述
Couperin, L’Art de Toucher Le Clavecin, 33.
中文讲解
脚注信息:Couperin,《L’Art de Toucher Le Clavecin》,第33页。该脚注为P0120中F. Couperin’前奏曲是自由作品’引文的来源。
第122段（P0124）
原文复述
Although this genre was intended for publication via manuscripts, the music of this period was not conceived to be documented and preserved by modern means of recordings.
中文讲解
本段指出:尽管该体裁意在通过手稿出版,该时期的音乐并未设想以现代录音方式被记录与保存。
第123段（P0125）
原文复述
With the exception of late-nineteenth-century musicologists such as Guido Adler (1855-1941), it was only during the 1950s that musicology started to become a legitimate academic discipline, when a committee of the American Musicological Society (AMS) published a definition for musicology in 1955. Works were being published as critical editions for the first time, for example many Haydn symphonies, ‘and practically the whole corpus of music by important secondary figures of the Renaissance and Baroque eras such as Giaches de Wert and Louis Couperin’. Basic errors were rectified, such as the incorrect authorship of the work, and incorrect year of completion.
中文讲解
本段介绍学科背景:除19世纪晚期音乐学家(如Guido Adler,1855-1941)外,音乐学直到1950年代才开始成为合法学术学科——1955年美国音乐学会(AMS)委员会发表音乐学定义;作品首次以评论版出版,如许多Haydn交响曲,‘以及Renaissance和Baroque时期重要次要人物如Giaches de Wert与Louis Couperin的几乎全部作品’;基本错误被纠正,如作品作者错误、完成年份错误。
第124段（P0126）
原文复述
The current analysis demonstrates that Gerlin’s interpretation in the 1950s is less reflective of the content addressed within the historical sources than is evident in the latter recordings. Gerlin does present a rhythmically variable performance, but his rhythmic variety is extreme when compared with the later, more historically informed, interpretations. Significantly, he does not adhere to the remaining three source instructions and he contravenes some of the sources by not restriking chords, varying note placements and not retaining notes, as instructed by the lines. Gerlin’s recordings of works by other contemporaneous composers also indicate a capacity for extreme rhythmic flexibility, as can be heard in his interpretation of Armand-Louis Couperin’s (1727-1789) ‘Les caqueteuses’ from Pièces de clavecin. This would indicate that Gerlin’s诠释 were not overtly nor heavily informed by historical sources.
中文讲解
本段具体结论:Gerlin 1950年代的诠释比后期录音较少反映历史文献内容;其诠释虽具节奏变化,但相比后期更具历史意识的诠释更极端;他不遵守其余三条史料指示,并违反部分文献(不重击和弦、改变音符位置、不按连线保留音符)。Gerlin对其他同时代作曲家作品的录音(如Armand-Louis Couperin,1727-1789《Les caqueteuses》)也显示极端节奏灵活性,表明其诠释并未明显或严重受历史文献启发。
第125段（P0127）
原文复述
Although offering essentially distinctive interpretations, Leonhardt and Rousset eschew the observations of historical commentators by not re-striking chords. Relating this practice to the opening chord, both play only what is notated within the score. In considering the significance of such interpretive gestures, perhaps the establishment of the harmony within the opening chord suggests repetition is unnecessary, as it has already been introduced. Reflection upon the irregularity emerging within the analysis indicates that modern day performers must decide whether they will execute the opening chord as written, or restrike, based on the historical sources. To not restrike the chord would suggest a performer was already familiar with, and did not require the additional time to adjust to the touch of the instrument. It also suggests they are accustomed to the acoustics of their recording or performance venue, and the venue’s ability to adequately sustain the instrument’s tone, without requiring the restrike. By avoiding primary source advice, Leonhardt and Rousset are not ignoring the historical information, but merely listening to their own interpretations and deciding at that point in time it is not necessary to restrike chords.
中文讲解
本段分析Leonhardt与Rousset:虽提供本质独特的诠释,二人仍回避历史评论家的观察(不重击和弦);开篇和弦只按谱演奏;作者反思:开篇和弦已确立和声,重复似无必要;不重击暗示演奏者已熟悉乐器触感,无需额外时间调整,也表明其适应录音/演出场地声学,无需重击;Leonhardt与Rousset并非忽视历史信息,而是倾听自身诠释,认定当时无需重击。
第126段（P0128）
原文复述
Duckles, “Musicology.”
中文讲解
脚注信息:Duckles,“Musicology”。该脚注为P0125中关于1955年AMS定义音乐学的来源。
第127段（P0129）
原文复述
Matthew Brown, Debussy Redux: The Impact of His Music on Popular Culture
中文讲解
脚注信息(部分):Matthew Brown,《Debussy Redux: The Impact of His Music on Popular Culture》。该脚注为P0125中关于评论版出版的来源(具体页码见P0130)。
第128段（P0130）
原文复述
(Bloomington;Indianapolis; Indiana University Press, 2012), 67.
中文讲解
脚注信息(出版地与页码):(Bloomington; Indianapolis: Indiana University Press,2012),第67页。该脚注完成P0129的文献出处。
第129段（P0131）
原文复述
Ruggero Gerlin, “Anthologie de La Musique de Clavecin. L’école Française” (1956).
中文讲解
脚注信息:Ruggero Gerlin,“Anthologie de La Musique de Clavecin. L’école Française”(1956年)。该脚注为P0126中Gerlin演奏Armand-Louis Couperin《Les caqueteuses》的来源。
第130段（P0132）
原文复述
Tilney displays a strong understanding of the source documentation, via his own publication, and as one of the more recent recordings, one might have anticipated that he would use a tuning that was more appropriate to the genre. It may be that as the prélude non mesuré was included in an album that also contained J.S Bach, Frescobaldi, Gabrieli and Froberger, Tilney might not have wanted to change temperaments or tuning during the recording process. He does follow the source commentary more precisely than some of the other recordings, resulting in an interpretation that is more indicative of the suggestions by Lebègue and F. Couperin. Although Sempé’s interpretation appears to not follow the four aspects, his rendition still addresses F. Couperin’s commentary that the performer gives rein to ‘any fancy’, with the inclusion of additional notes and ornaments, and presenting one of the fastest recordings.
中文讲解
本段评价Tilney与Sempé:Tilney通过其出版物显示对原始文献的强烈理解;作为较近录音之一,可预期其使用更适合该体裁的调律;但prélude non mesuré所在专辑包含J.S. Bach、Frescobaldi、Gabrieli与Froberger,Tilney可能不想在录音过程中变换律制或调律;他比其他录音更精确遵循原始文献评论,诠释更体现Lebègue与F. Couperin的建议;Sempé诠释表面看未遵循四个方面,但仍体现F. Couperin’任何奇想’的评论——添加额外音符与装饰,呈现最快录音之一。
第131段（P0133）
原文复述
Given that Leonhardt taught or influenced the three latter performers, there is little discernible variance between teacher and students’ interpretations. This might suggest that Leonhardt’s students (Rousset, Tilney and Sempé) endorse the historical significance of the former’s interpretation, while intelligently interpreting the genre, as noted by F. Couperin’s recommendation.
中文讲解
本段指出影响链:Leonhardt教导或影响了三位后期演奏家,其与学生诠释间差异微小;这可能表明Leonhardt的学生(Rousset、Tilney、Sempé)在依F. Couperin建议智能诠释该体裁的同时,认可前者的历史意义。
第132段（P0134）
原文复述
Although limited, the source documentation provides modern players with valuable theoretical knowledge to underpin an historically-based interpretation. These performers can now interpret the genre through ease of access to primary and secondary sources, while considering the varying approaches to performance practice within a multitude of recordings to stimulate the musical imagination.
中文讲解
本段总结:原始文献虽有限,但为现代演奏者提供有价值的理论知识,以支撑基于历史的诠释;这些演奏家如今可通过方便获取的原始与二手文献诠释该体裁,同时考虑众多录音中表演实践的不同方法以激发音乐想象力。
第133段（P0135）
原文复述
Based upon my analytical observations, the selected recordings reflect the development in musicological research into authentic performance practice. This can be heard in performers’ practical demonstration of theoretical principles. Tilney’s 2009 recording appears to offer the most robust reflection of the practical application of the historical sources. While acknowledging the rigour of Tilney’s historically-based performance style and artistic expertise in the repertoire, the research indicates that present-day performers should draw upon multi-faceted sources.
中文讲解
本段总结:基于分析观察,所选录音反映了音乐学对原真演奏实践研究的发展;这可在演奏家对理论原则的实践示范中听到。Tilney 2009年录音似乎提供对历史文献实际应用最有力的反映;在承认Tilney基于历史的演奏风格严谨性与该曲目艺术专长的同时,研究表明当代演奏者应借鉴多方来源。
第134段（P0136）
原文复述
François Couperin, L’Art de Toucher Le Clavecin (Wiesbaden: Breitkopf & Härtel, 1933), 33.
中文讲解
脚注信息:Francois Couperin,《L’Art de Toucher Le Clavecin》(Wiesbaden:Breitkopf & Härtel,1933),第33页。该脚注为P0132中F. Couperin’任何奇想’引文的来源。
第135段（P0137）
原文复述
No two performances will ever be identical, as shown in the results of this analysis taken from snap shots of each musician. Primary sources and the work of later scholars are available to inform musicians playing the préludes non mesurés, and recordings can be used in conjunction with the facsimiles to model an informed interpretation. Expediting methods of interpretation based on historical sources and the work of expert practitioners allows the thesis to become a useful tool for the modern scholar-performer, as we continue to endeavour to clarify L. Couperin’s intentions.
中文讲解
本段总结:如本分析从每位音乐家’快照’所得结果所示,没有两次演奏会完全相同;原始文献与后来学者的工作可用于告知演奏préludes non mesurés的演奏者,录音可与 facsimile 结合使用,塑造有信息量的诠释;基于历史文献与专家实践工作的诠释方法加速,使本论文成为现代学者-演奏者的有用工具,继续致力于澄清L. Couperin的意图。
第136段（P0138）
原文复述
This research is significant because, to date, no other studies compare recordings of the same prélude non mesuré while addressing the commentary available in primary sources. Furthermore, there is no research available that integrate findings into one’s own performance. Although they can offer merely a guide, primary sources are the most accurate instructional source that present-day performers have at their disposal, along with the facsimiles. Analysis of the surveyed recordings shows that it is unlikely that every performance of the Prélude non mesuré genre will unwaveringly follow all principles set out within the source documentation. However, the latter four of the five performers examined in this research display awareness of the primary sources through the inclusion of notes or rhythmic variety. These phenomena suggest that the musical and artistic intelligence of performers is crucial, as noted by Lebègue. In order to produce a robust interpretation of the prélude non mesuré, Lebègue allows the performer artistic latitude within their interpretation, while adhering to his advice. Evidence within the five decades shows an increased awareness of source documentation, as noted in the varying interpretations of Gerlin and Leonhardt. This is significant as it provides the listener with varying examples of how préludes non mesurés were interpreted prior to the discovery of the source documents and subsequently more historically informed recordings. It also shows how the findings have impacted upon my own interpretation of the prélude non mesuré. This notational approach imparts the performer with minimal interpretative instructions, and the responsibility falls on the keyboardist to synthesise the knowledge available, while presenting a performance that moves beyond the harmonic structure, to fundamentally present a work as if it were being composed on the spot.
中文讲解
本段阐明研究的意义:迄今尚无其他研究比较同一prélude non mesuré的录音同时处理原始文献中的评论;亦无研究将发现整合进个人演奏;原始文献虽仅作指引,却是当代演奏者可用的最精确教学来源,加上 facsimile;所考察录音的分析显示,prélude non mesuré体裁的每次演奏不太可能毫不偏移地遵循文献所有原则;但五人中后四位通过添加音符或节奏多样性显示对原始文献的意识;这些现象表明演奏者的音乐与艺术智慧至关重要(Lebègue所述);为产生prélude non mesuré的稳健诠释,Lebègue允许演奏者在遵循其建议的同时享有艺术自由度。五十年间的证据显示对原始文献意识的增强,如Gerlin与Leonhardt诠释的差异所示;这对听众很重要,因其提供prélude non mesuré在原始文献发现前与更具历史意识录音后如何被诠释的不同范例;也显示研究发现如何影响作者本人对prélude non mesuré的诠释;该记谱方法赋予演奏者最少的诠释指示,责任落在键盘演奏者综合可得知识,同时呈现超越和声结构、根本如’当场作曲’的表演。
第137段（P0139）
原文复述
Troeger, “The French Unmeasured Harpsichord Prelude.”, 92
中文讲解
脚注信息:Troeger,“The French Unmeasured Harpsichord Prelude”,第92页。该脚注为P0138中关于Lebègue’允许艺术自由度’论述的来源。
第138段（P0140）
原文复述
[
中文讲解
图像占位符:d’Anglebert 1689年《Pièces de clavecin》中的装饰符号表(《Marques des Agrements et leurs significations》),来源Oxford Music Online,编号145。原图未显示,仅保留图注与位置信息。
补充说明
需查看原图以确认d’Anglebert装饰符号表的具体内容。
第139段（P0141）
原文复述
APPENDIX TWO
中文讲解
小节标题:‘APPENDIX TWO(附录二)’。该标题开启附录二部分。
第140段（P0142）
原文复述
See attached file for the scores.
中文讲解
说明:乐谱见附加文件。该句提示附录二所附为乐谱。
第141段（P0143）
原文复述
Kenneth Kreitner, “Ornaments.”
中文讲解
脚注信息:Kenneth Kreitner,“Ornaments”。该脚注为P0140中d’Anglebert装饰符号表来源。
第142段（P0144）
原文复述
APPENDIX THREE
中文讲解
小节标题:‘APPENDIX THREE(附录三)’。该标题开启附录三部分——演奏家传记。
第143段（P0145）
原文复述
Biography of performers
中文讲解
小节标题:‘Biography of performers(演奏家传记)’。该标题列出所分析的五位演奏家的详细生平。
第144段（P0146）
原文复述
Ruggero Gerlin (B: Venice, 5 January 1899; D: Paris, 17 June 1983)
中文讲解
小标题:Ruggero Gerlin(生于威尼斯,1899年1月5日;卒于巴黎,1983年6月17日)。
第145段（P0147）
原文复述
Gerlin studied piano at the Milan Conservatory before studying harpsichord with Wanda Landowska in Paris in 1920. Gerlin maintained a working relationship with Landowska until 1940, often performing concerts with two harpsichords. In 1941, Gerlin took the post of harpsichord teacher at San Pietro a Majella Conservatory in Naples, and during this time he taught masterclasses at the Accademia Musicale Chigiana in Siena. Gerlin performed regularly and recorded many albums on a Pleyel harpsichord, including the complete works of François Couperin, Louis Couperin and Jean-Philippe Rameau.
中文讲解
Gerlin传记:在米兰音乐学院学习钢琴,1920年在巴黎师从Wanda Landowska学习羽管键琴;至1940年与Landowska保持工作关系,常以两架羽管键琴演出;1941年起任那不勒斯San Pietro a Majella音乐学院羽管键琴教师,同期在锡耶纳Accademia Musicale Chigiana教授大师班;常演出并在Pleyel羽管键琴上录制多张专辑,包括François Couperin、Louis Couperin与Jean-Philippe Rameau的完整作品。本段作用:为Gerlin的Landowska传承与Pleyel乐器使用提供背景。
第146段（P0148）
原文复述
Gustav Leonhardt (B: Graveland, 30 May 1928; D: Amsterdam, 16 January 2012)
中文讲解
小标题:Gustav Leonhardt(生于Graveland,1928年5月30日;卒于阿姆斯特丹,2012年1月16日)。
第147段（P0149）
原文复述
Leonhardt is considered the ‘grandfather’ within the Early Music movement. His influence on the Historically Informed Performance movement is well documented and in its 2012 obituary for Leonhardt, The Guardian considered him ‘a pioneer and pillar of the early music movement.’ Leonhardt was a Dutch harpsichordist, organist and conductor who studied with Eduard Müller at the Schola Cantorum in Basel from 1947 to 1950 before studying conducting with Hans Swarowsky in Vienna. He held teaching posts at the Vienna Music Academy (1952 to 1955), Amsterdam Conservatory (1954 to 1988) and held a visiting professor post at Harvard University from 1969 to 1970.
中文讲解
Leonhardt传记:被誉为早期音乐运动的’祖父’;其对历史知情演奏运动的影响有充分文献记录——2012年《卫报》讣告称其为’早期音乐运动的先驱与支柱’;荷兰羽管键琴家、管风琴家与指挥家,1947-1950年在巴塞尔Schola Cantorum师从Eduard Müller,后在维也纳师从Hans Swarowsky学习指挥;任教于维也纳音乐学院(1952-1955)、阿姆斯特丹音乐学院(1954-1988),1969-1970年任哈佛大学访问教授。
第148段（P0150）
原文复述
Leonhardt’s discography is significant, and he is well-known for his extensive recordings as both a solo harpsichordist and an organist, ranging from the German repertoire of J.S. Bach and Froberger, through the Italian recording Frescobaldi and French, recording Louis Couperin, recording albums that ‘won a wider audience for their music and set a standard of interpretative style. Tasteful ornamentation, subtle rubato nuances within a firm rhythmical pulse, and stylistic authority characterized his harpsichord playing.’ Leonhardt preferred performing and recording on properly restored or copies of period instruments that were associated with the correct period of the compositions.
中文讲解
本段续述Leonhardt:其录音目录重要,作为独奏羽管键琴家与管风琴家以广泛录音闻名,涵盖J.S. Bach与Froberger的德语曲目、Frescobaldi的意大利语曲目与Louis Couperin的法语曲目;其录音专辑’为这些音乐赢得更广听众并设立诠释风格标准——优雅的装饰、坚实节奏脉动中的微妙rubato细微差别、风格权威性是其羽管键琴演奏的特征’;Leonhardt偏好在与作品正确时期相关的适当修复或复制古乐器上演奏与录音。
第149段（P0151）
原文复述
Salter, “Gustav Leonhardt Obituary.”
中文讲解
脚注信息:Salter,“Gustav Leonhardt Obituary”。该脚注为P0149中《卫报》讣告引用的来源。
第150段（P0152）
原文复述
Ibid.
中文讲解
脚注信息:同上(指Salter讣告)。该脚注支撑P0150中关于Leonhardt演奏特征的描述。
第151段（P0153）
原文复述
Leonhardt was known for, and he himself noted that his playing was sometimes ’too coolly dispassionate and austere a style’. The same Guardian article notes Leonhardt’s cool demeanour ‘His own playing was marked by superlative technical assurance, lucidity, intellectual authority and gravitas – gaiety and humour came less easily to him’ and this is something he acknowledged and he attempted a freer, more relaxed approach later in his career. The Guardian did note however that although held in high esteem, there was criticism that his ’excessive sobriety - the wit of French claveçinists seemed to elude him – of rather unsettling free rubatos, and in concerted works of over-heavy accentuation’. It is unfortunate that there are not two recordings of Leonhardt performing the same preludes at different stages of his career, as it would have been of interest to note if his interpretation reflected his acknowledgement of his own early more sombre persona.
中文讲解
本段续述Leonhardt:他本人承认其演奏有时’过于冷静超然与严肃’;《卫报》同篇文章描述其冷静气质:‘其演奏以卓越的技术保证、清晰、智识权威与庄重著称——欢愉与幽默较少自然流露’,他承认这一点并于后期尝试更自由、放松的方法;然而《卫报》亦指出,虽受高度尊敬,但也有批评其’过度严肃——法国羽管键琴家的机智似乎与他无缘——rubato自由得令人不安,合奏作品中重音过重’;遗憾的是无Leonhardt在不同职业阶段演奏同一前奏曲的两份录音,否则观察其诠释是否反映其对早期更严肃人格的承认将很有意义。
第152段（P0154）
原文复述
The list of people who worked or studied with Leonhardt is significant and reads of the ‘Who’s Who’ of early musicians of the following generation: Bob van Asperen, John Butt, Alan Curtis, Richard Egarr, Pierre Hantaï, Christopher Hogwood, Ton Koopman, Davitt Moroney, Christophe Rousset, Skip Sempé, and Colin Tilney.
中文讲解
本段列举与Leonhardt合作或学习的重要人物:Bob van Asperen、John Butt、Alan Curtis、Richard Egarr、Pierre Hantaï、Christopher Hogwood、Ton Koopman、Davitt Moroney、Christophe Rousset、Skip Sempé与Colin Tilney——构成下一代早期音乐家的’名人录’。
第153段（P0155）
原文复述
Colin Tilney (B: London 31 October 1933)
中文讲解
小标题:Colin Tilney(生于伦敦,1933年10月31日)。
第154段（P0156）
原文复述
Tilney is an English harpsichordist, who now resides in Canada. He studied harpsichord with Mary Potts from 1956-58, and then studied with Leonhardt in Amsterdam, although there is only five years’ age difference between these two gentlemen.
中文讲解
Tilney传记:英国羽管键琴家,现居加拿大;1956-58年师从Mary Potts学习羽管键琴,后在阿姆斯特丹师从Leonhardt——尽管两人年龄仅差五岁。
第155段（P0157）
原文复述
In 1979, Tilney moved to Toronto, where he taught at the Royal Conservatory of Music. Oxford Music notes, as with Leonhardt, Tilney’s propensity to perform music on the appropriate keyboard instrument, also using original scores. Tilney also wrote the body of work that this research references ‘The Arts of the Unmeasured Prelude (London, 1991). His recording oeuvre includes English works of Purcell and Locke, Italian repertoire of Scarlatti and the early German composers such as Froberger and Kuhnau. Tilney is currently on the faculty at University of Victoria, School of Music in Toronto.
中文讲解
本段续述Tilney:1979年迁居多伦多,在皇家音乐学院任教;Oxford Music指出,Tilney与Leonhardt相似,倾向在适当键盘乐器上演奏并使用原始乐谱;Tilney还撰写了本研究参考的主要著作《The Arts of the Unmeasured Prelude》(伦敦,1991);其录音作品涵盖Purcell与Locke的英国作品、Scarlatti的意大利曲目及Froberger、Kuhnau等早期德国作曲家;Tilney现于多伦多大学维多利亚学院音乐学院任教。
第156段（P0158）
原文复述
Howard Schott, “Leonhardt, Gustav,” Grove Music Online, Oxford University Press, accessed 22 March 2014
中文讲解
脚注信息:Howard Schott,“Leonhardt, Gustav”,《Grove Music Online》,牛津大学出版社,访问日期2014年3月22日。该脚注为P0153中关于Leonhardt演奏特征的来源。
第157段（P0159）
原文复述
中文讲解
脚注信息:具体网址。该脚注为P0158的完整URL。
第158段（P0160）
原文复述
Howard Schott, “Tilney, Colin,” Grove Music Online, n.d., Oxford University Press, accessed 22 March 2014http://www.oxfordmusiconline.com.virtual.anu.edu.au/subscriber/article/grove/music/27969?q=tilney&search=quick&pos=1&_start=1#firsthit.
中文讲解
脚注信息:Howard Schott,“Tilney, Colin”,《Grove Music Online》,无日期,牛津大学出版社,访问日期2014年3月22日,附URL。该脚注为P0157中关于Tilney倾向适当乐器的来源。
第159段（P0161）
原文复述
Bob (Jan Gerard) van Asperen (B. Amsterdam 8 October 1947)
中文讲解
小标题:Bob (Jan Gerard) van Asperen(生于阿姆斯特丹,1947年10月8日)。
第160段（P0162）
原文复述
Dutch keyboardist and conductor, van Asperen’s first noted teacher was Leonhardt, and he also studied organ with Albert de Klerk at the Amsterdam Conservatory, completing his studies in 1971. Van Asperen’s recording repertoire includes the French clavecinistes, along with Soler and C.P.E Bach.
中文讲解
van Asperen传记:荷兰键盘家与指挥家,首位有记录的老师是Leonhardt,亦在阿姆斯特丹音乐学院师从Albert de Klerk学习管风琴,1971年完成学业;其录音曲目涵盖法国clavecinistes,以及Soler与C.P.E. Bach。
第161段（P0163）
原文复述
Van Asperen was on the faculty at the Royal Conservatory in The Hague as a harpsichord professor from 1973 to 88, after which he succeeded Leonhardt at the Sweelinck Conservatory in Amsterdam.
中文讲解
本段续述van Asperen:1973-1988年任海牙皇家音乐学院羽管键琴教授,之后在阿姆斯特丹Sweelinck音乐学院接替Leonhardt。
第162段（P0164）
原文复述
Christophe Rousset: (b Montfavet, nr Avignon, 12 April 1961)
中文讲解
小标题:Christophe Rousset(生于Montfavet,临近阿维尼翁,1961年4月12日)。
第163段（P0165）
原文复述
Rousset, a harpsichordist and director, is the only French national of this group. He studied harpsichord at the Paris Schola Cantorum under Huguette Dreyfus in 1976, before commencing studies with Bob van Asperen in The Hague in 1983. He also studied interpretation with Gustav Leonhardt. Rousset divides his interest being performing and directing, and his playing style is said to show ’technical virtuosity, and a fastidious attention to stylistic detail which may also be discerned in the performances of Les Talens Lyriques.’ Rousset’s discography includes the complete harpsichord works of Rameau and the complete harpsichord pieces of François Couperin.
中文讲解
Rousset传记:羽管键琴家与指挥,本组中唯一的法国人;1976年在巴黎Schola Cantorum师从Huguette Dreyfus学习羽管键琴,1983年起在海牙师从Bob van Asperen;亦师从Gustav Leonhardt学习诠释;其兴趣兼顾演奏与指挥,演奏风格据称展现’技术精湛与对风格细节的苛求,这在Les Talens Lyriques的演奏中亦可辨识’;其录音目录包括Rameau的羽管键琴完整作品与François Couperin的羽管键琴完整作品。
第164段（P0166）
原文复述
Howard Schott, “Asperen, Bob van,” Grove Music Online. Oxford University Press, n.d., accessed 22 March 2014.
中文讲解
脚注信息:Howard Schott,“Asperen, Bob van”,《Grove Music Online》,牛津大学出版社,无日期,访问日期2014年3月22日。该脚注为P0163中关于van Asperen接替Leonhardt的来源。
第165段（P0167）
原文复述
中文讲解
脚注信息:具体网址。该脚注为P0166的完整URL。
第166段（P0168）
原文复述
Nicholas Anderson, “Rousset, Christophe,” Grove Music Online. Oxford University Press, n.d., Oxford University Press, accessed 22 March
中文讲解
脚注信息:Nicholas Anderson,“Rousset, Christophe”,《Grove Music Online》,牛津大学出版社,无日期,访问日期2014年3月22日。该脚注为P0165中关于Rousset风格描述的来源。
第167段（P0169）
原文复述
2014http://www.oxfordmusiconline.com.virtual.anu.edu.au/subscriber/article/grove/music/43596?q=rousset&search=quick&pos=1&_start=1#firsthit.
中文讲解
脚注信息:访问日期2014年,具体URL。该脚注为P0168的完整URL。
第168段（P0170）
原文复述
BIBLIOGRAPHY:
中文讲解
小节标题:‘BIBLIOGRAPHY(参考文献)’。该标题开启论文的参考文献部分。
第169段（P0171）
原文复述
Anderson, Nicholas. “Rousset, Christophe.” Grove Music Online. http://www.oxfordmusiconline.com.virtual.anu.edu.au/subscriber/article/grove/music/43596?q=rousset&search=quick&pos=1&_start=1#firsthit.
中文讲解
参考文献条目:Anderson, Nicholas. “Rousset, Christophe."《Grove Music Online》,附URL。
第170段（P0172）
原文复述
Bach, Carl Philipp Emanuel. Essay on the True Art of Playing Keyboard Instruments. London: Lowe & Brydone Printers Ltd. 1949.
中文讲解
参考文献条目:Bach, Carl Philipp Emanuel.《论键盘乐器演奏的真艺术》,伦敦:Lowe & Brydone Printers Ltd,1949年。
第171段（P0173）
原文复述
Bauyn, Manuscrit. 1977. Pièces de Clavecin c.1660. Edited by Minkoff Reprint. Res. Vm7 6. Paris: Bibliothèque Nationale.
中文讲解
参考文献条目:Bauyn手稿,1977年。《约1660年羽管键琴作品集》,Minkoff Reprint编辑,Res. Vm7 6,巴黎:法国国家图书馆。
第172段（P0174）
原文复述
Beccia-Schuster, Donna Jean. 1991. “Interpretation of the Unmeasured Preludes of Louis Couperin as Applied to Prelude No. 9 in C Major.” ProQuest Dissertations Publishing U6 - ctx_ver=Z39.88-2004&ctx_enc=info%3Aofi%2Fenc%3AUTF-8&rfr_id=info%3Asid%2Fsummon.serialssolutions.com&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=dissertation&rft.title=Interpretation+of+the+unmeasured. http://anu.summon.serialssolutions.com/2.0.0/link/0/eLvHCXMwnV1LSwMxEB7UvYiHkStwuB9a_ZVs6eCq6UHEQ_ey24ygYpNtOv6- 032IdsKPQi5fSEMZJj3AyAKR8zfkAm5oLAQiQz4XZGTZCoW44SYSoNUqUiy9d0w0E2FaH 7E5K15JZGuKC59dqTyKpLFk0-Pn23RcplW9uVGrvghW7gpeVvdj_b9N7_iN1al0wHQF1Hzvd.
中文讲解
参考文献条目:Beccia-Schuster, Donna Jean. 1991.《Louis Couperin无量化前奏曲的诠释——以C大调第9号前奏曲为例》,ProQuest博士论文出版,附URL。
第173段（P0175）
原文复述
Beghin, Tom. The Virtual Haydn: Paradox of a Twenty-First-Century Keyboardist. Chicago, London: The University of Chicago Press. 2015.
中文讲解
参考文献条目:Beghin, Tom.《虚拟海顿:21世纪键盘演奏家的悖论》,芝加哥、伦敦:芝加哥大学出版社,2015年。
第174段（P0176）
原文复述
Bowen, José A. “Finding the Music in Musicology: Performance History and Musical Works.” In Rethinking Music, Ed. Nicholas Cook and Mark Everest, Oxford: Oxford University Press. 1999.
中文讲解
参考文献条目:Bowen, José A.《在音乐学中寻找音乐:演奏史与音乐作品》,收入Nicholas Cook与Mark Everest编《重思音乐》,牛津:牛津大学出版社,1999年。
第175段（P0177）
原文复述
Bowen, José A. 1993. “The History of Remembered Innovation: Tradition and Its Role in the Relationship between Musical Works and Their Performances.” The Journal of Musicology 11 (2). Spring: 139–73. http://www.jstor.org.
中文讲解
参考文献条目:Bowen, José A. 1993.《记忆中的创新史:传统在音乐作品与演奏关系中的作用》,《音乐学杂志》第11卷第2期,春季:139-73。
第176段（P0178）
原文复述
Brown, Matthew. Debussy Redux: The Impact of His Music on Popular Culture. Bloomington; Indianapolis: Indiana University Press. 2012.
中文讲解
参考文献条目:Brown, Matthew.《德彪西再审视:其音乐对流行文化的影响》,布卢明顿、印第安纳波利斯:印第安纳大学出版社,2012年。
第177段（P0179）
原文复述
Buch, David J. 1985. “‘Style Brise, Style Luthe,’ and the ‘Choses Luthees.’” The Musical Quarterly 71 (No. 1): 52–67. http://www.jstor.org/stable/948172.
中文讲解
参考文献条目:Buch, David J. 1985.《‘Style Brisé、Style Luthé与Choses Luthées》,《音乐季刊》第71卷第1期:52-67。
第178段（P0180）
原文复述
Chang, Philip Chih-Cheng. “Analytical and Performative Issues in Selected Unmeasured Preludes by Louis Couperin.” Doctor of Philosophy diss., University of Rochester, 2011.
中文讲解
参考文献条目:Chang, Philip Chih-Cheng.《Louis Couperin所选无量化前奏曲中的分析与演奏问题》,哲学博士论文,罗切斯特大学,2011年。
第179段（P0181）
原文复述
Charpentier, Marc-Antonie. Règles de Composition. Paris. n.d.
中文讲解
参考文献条目:Charpentier, Marc-Antoine.《作曲规则》,巴黎,无日期。
第180段（P0182）
原文复述
Chung, David. 2015. “The Bauyn Manuscript: Harpsichord Music from the Seventeenth Century.” Music Library Association 72 (1): 216–21.
中文讲解
参考文献条目:Chung, David. 2015.《Bauyn手稿:17世纪羽管键琴音乐》,《音乐图书馆协会》第72卷第1期:216-21。
第181段（P0183）
原文复述
Chung, David. “The Port de Voix in Louis Couperin’s Unmeasured Preludes: A Study of Types, Functions and Interpretation.” In Performer’s Voices across Centuries and Cultures, 59–84. London: Imperal College Press, 2012.
中文讲解
参考文献条目:Chung, David.《Louis Couperin无量化前奏曲中的port de voix:类型、功能与诠释研究》,收入《世纪与文化中的演奏者之声》,伦敦:帝国学院出版社,2012年。
第182段（P0184）
原文复述
Chung, David. 2011. “Revisiting ‘Le Bon Goût’: Observations on the Irregularities and Inconsistencies in French Harpsichord Music 1650-1730.” Music & Letters 92 (2). London: Oxford University Press: 183–201. http://anu.summon.serialssolutions.com/2.0.0/link/0/eLvHCXMwtZ1LS8NAEIAXrRcv4hO1CoM HeygpzW6abQQPtigKFcG259JtNm0PppKm-OM8- secfTSJFYsevIQwgU3INzs7O7uzQwijtbqzYhOY8IduIEUj8iIasVD4kkd1FolG3Q YPle7UBsmK9qXy_4VPMoQvUqk_QP8rFEU4D2qAF5RCfD6KzV41tnjqQkI8I6sCsQ9nqn.
中文讲解
参考文献条目:Chung, David. 2011.《重访’Le Bon Goût’:1650-1730年法国羽管键琴音乐中不规则与不一致的观察》,《音乐与书信》第92卷第2期,伦敦:牛津大学出版社:183-201。
第183段（P0185）
原文复述
Cook, Nicholas. Beyond the Score. New York: Oxford University Press. 2013.
中文讲解
参考文献条目:Cook, Nicholas.《超越乐谱》,纽约:牛津大学出版社,2013年。
第184段（P0186）
原文复述
Cook, Nicholas and Mark Everist. Rethinking Music. New York: Oxford University Press. 1999.
中文讲解
参考文献条目:Cook, Nicholas与Mark Everist.《重思音乐》,纽约:牛津大学出版社,1999年。
第185段（P0187）
原文复述
Couperin, François. 1933. L’Art de Toucher Le Clavecin. Wiesbaden: Breitkopf & Härtel.
中文讲解
参考文献条目:Couperin, François. 1933.《羽管键琴演奏艺术》,威斯巴登:Breitkopf & Härtel。
第186段（P0188）
原文复述
Curtis, Alan. 1970. Musique classique française a Berkeley. Pièces inédites de Louis Couperin, Lebègue, La Barre, etc. Revue de Musicologie, T. 56(No 2), 123 - 164. doi:10.2307/927915
中文讲解
参考文献条目:Curtis, Alan. 1970.《伯克利的法国古典音乐:Louis Couperin、Lebègue、La Barre等未出版作品》,《音乐学杂志》第56卷第2期:123-164。
第187段（P0189）
原文复述
Curtis, Alan. 1956. “Unmeasured Preludes in French Baroque Instrumental Music.” diss Urbana, Ill. [University of Illinois].
中文讲解
参考文献条目:Curtis, Alan. 1956.《法国巴洛克器乐中的无量化前奏曲》,论文,伊利诺伊大学厄巴纳分校。
第188段（P0190）
原文复述
D’Anglebert, Jean-Henri. Pièces de Clavessin Avec La Manière de Les Jouer: Diverses Chaconnes, Ouvertures et Autres Airs de M. de Lully Mis Sur Cet Instrument, 1689.
中文讲解
参考文献条目:D’Anglebert, Jean-Henri.《羽管键琴作品集及其演奏方法:各种Lully的Chaconnes、Ouvertures与其他器乐改编》,1689年。
第189段（P0191）
原文复述
Drabkin, William. n.d. “Consecutive Fifths, Consecutive Octaves.” Grove Music Online.
中文讲解
参考文献条目:Drabkin, William.无日期.《连续五度、连续八度》,《Grove Music Online》。
第190段（P0192）
原文复述
Duckles, Vincent, “Musicology.” Grove Music Online.
中文讲解
参考文献条目:Duckles, Vincent.《音乐学》,《Grove Music Online》。
第191段（P0193）
原文复述
Egarr, Richard. 2011. “Louis Couperin: Pièces de Clavecin.” Harmonia Mundi: HMU907511.14.
中文讲解
参考文献条目:Egarr, Richard. 2011.《Louis Couperin:羽管键琴作品集》,Harmonia Mundi:HMU907511.14。
第192段（P0194）
原文复述
Emmerson, Stephen. Around a Rondo: Preparing Mozart’s Rondo in A Minor for Performance on Fortepiano, 2007.
中文讲解
参考文献条目:Emmerson, Stephen.《围绕一首回旋曲:为古钢琴演奏准备Mozart的A小调回旋曲》,2007年。
第193段（P0195）
原文复述
Ferguson, Howard. Early French Keyboard Music. London: Oxford University Press. 1966.
中文讲解
参考文献条目:Ferguson, Howard.《早期法国键盘音乐》,伦敦:牛津大学出版社,1966年。
第194段（P0196）
原文复述
Ferguson, Howard. n.d. “Prelude.” Grove Music Online.
中文讲解
参考文献条目:Ferguson, Howard.无日期.《前奏曲》,《Grove Music Online》。
第195段（P0197）
原文复述
Fuller, David. 1978. “Harpsichord Registration,” The Diapason 69 (8).
中文讲解
参考文献条目:Fuller, David. 1978.《羽管键琴音栓》,《The Diapason》第69卷第8期。
第196段（P0198）
原文复述
Fuller, David. 1981. “You Can’t Prove It by Notation.” The Diapason lxxii (3).
中文讲解
参考文献条目:Fuller, David. 1981.《你无法用记谱证明》,《The Diapason》第72卷第3期。
第197段（P0199）
原文复述
Fuller, David. 1983. “An Introduction to Automatic Instruments.” Early Music 11 (2): 164–66. http://www.jstor.org/stable/3137828.
中文讲解
参考文献条目:Fuller, David. 1983.《自动乐器导论》,《早期音乐》第11卷第2期:164-66。
第198段（P0200）
原文复述
Fuller, David, Bruce Gustafson, and Edward Higginbottom. n.d. “Couperin.” Grove Music Online.
中文讲解
参考文献条目:Fuller, David、Bruce Gustafson与Edward Higginbottom.无日期.《Couperin》,《Grove Music Online》。
第199段（P0201）
原文复述
http://www.oxfordmusiconline.com.virtual.anu.edu.au/subscriber/article/grove/music/40182 pg1.
中文讲解
参考文献条目:具体网址。该脚注为P0200的完整URL。
第200段（P0202）
原文复述
Gaultier, Denis. Livres de tablature des pièces de luth. Paris. n.d.
中文讲解
参考文献条目:Gaultier, Denis.《鲁特琴作品指法集》,巴黎,无日期。
第201段（P0203）
原文复述
Gerlin, Ruggero. 1956. “Anthologie de La Musique de Clavecin. L’école Française.” BnF Collection.
中文讲解
参考文献条目:Gerlin, Ruggero. 1956.《羽管键琴音乐选集:法国学派》,BnF收藏。
第202段（P0204）
原文复述
Gerlin, Ruggero. n.d. “Louis Couperin: Complete Works for Harpsichord.” L.Oiseau-Lyre. doi:OL 50107.
中文讲解
参考文献条目:Gerlin, Ruggero.无日期.《Louis Couperin:羽管键琴完整作品》,L’Oiseau-Lyre。
第203段（P0205）
原文复述
Guest. 1988. “CD Review: Couperin Family Harpsichord Works.” The Guardian. http://www.gramophone.co.uk/review/couperin-family-harpsichord-works.
中文讲解
参考文献条目:Guest. 1988.《CD评论:Couperin家族羽管键琴作品》,《卫报》,附URL。
第204段（P0206）
原文复述
Gustafson, Bruce. (1993, Nov). The Art of the Unmeasured Prelude for Harpsichord: France 1660-1720 by Colin Tilney. Music and Letters, Vol. 74(4), 648 - 650. Retrieved March 22, 2014, from http://www.jstor.org/stable/737623
中文讲解
参考文献条目:Gustafson, Bruce. 1993年11月.《Colin Tilney著〈1660-1720年法国羽管键琴无量化前奏曲艺术〉评论》,《音乐与书信》第74卷第4期:648-650。
第205段（P0207）
原文复述
Gustafson, B. (1977). A letter from Mr Lebegue concerning his preludes. “Recherches” sur la Musique française classique XVII, 7 - 14.
中文讲解
参考文献条目:Gustafson, B. 1977.《Lebègue先生关于其前奏曲的一封信》,《法国古典音乐研究》第17期:7-14。
第206段（P0208）
原文复述
Haynes, Bruce. A History of Performing Pitch: The Story of “A.” Maryland and Oxford: Scarecrow Press Inc. 2002.
中文讲解
参考文献条目:Haynes, Bruce.《演奏音高史:‘A’的故事》,马里兰与牛津:Scarecrow Press Inc,2002年。
第207段（P0209）
原文复述
Haynes, Bruce. The End of Early Music: A Period Performer’s History of Music for the Twenty-First Century. New York; Oxford; Oxford University Press. 2007.
中文讲解
参考文献条目:Haynes, Bruce.《早期音乐的终结:一位本真演奏家对21世纪音乐史的回顾》,纽约、牛津:牛津大学出版社,2007年。
第208段（P0210）
原文复述
Hiley, David. n.d. “Accidental.” Grove Music Online. http://www.oxfordmusiconline.com.virtual.anu.edu.au/subscriber/article/grove/music/00103.
中文讲解
参考文献条目:Hiley, David.无日期.《临时记号》,《Grove Music Online》,附URL。
第209段（P0211）
原文复述
Kreitner, Kenneth. “Ornaments,” Grove Music Online. http://www.oxfordmusiconline.com.virtual.anu.edu.au/subscriber/article/img/grove/music/F9 22302.
中文讲解
参考文献条目:Kreitner, Kenneth.《装饰》,《Grove Music Online》,附URL。
第210段（P0212）
原文复述
Kuijken, Barthold. The Notation Is Not the Music: Reflections on Early Music Practice and Performance. Bloomington; Indianapolis: Indiana University Press. 2013.
中文讲解
参考文献条目:Kuijken, Barthold.《记谱非音乐:早期音乐实践与演奏反思》,布卢明顿、印第安纳波利斯:印第安纳大学出版社,2013年。
第211段（P0213）
原文复述
Landowska, Wanda. 1964. Landowska on Music. Edited by Denise Restout. New York: Stein and Day.
中文讲解
参考文献条目:Landowska, Wanda. 1964.《Landowska论音乐》,Denise Restout编,纽约:Stein and Day。
第212段（P0214）
原文复述
Langwill, Lyndesay G, and Arthur W J G Ord-Hume. n.d. “Barrel Organ.” Grove Music Online.
中文讲解
参考文献条目:Langwill, Lyndesay G与Arthur W J G Ord-Hume.无日期.《手摇风琴》,《Grove Music Online》。
第213段（P0215）
原文复述
Latham, Alison, ed. n.d. “Style Brisé.” The Oxford Companion to Music.
中文讲解
参考文献条目:Latham, Alison编.无日期.《Style Brisé》,《牛津音乐伴读》。
第214段（P0216）
原文复述
Lebègue, N. Pièces de clavessin – preface, 1677.
中文讲解
参考文献条目:Lebègue, N.《羽管键琴作品集》——序言,1677年。
第215段（P0217）
原文复述
Ledbetter, David. Harpsichord and Lute Music in 17th-Century France. London: MacMillan Press Ltd, 1987.
中文讲解
参考文献条目:Ledbetter, David.《17世纪法国的羽管键琴与鲁特琴音乐》,伦敦:MacMillan Press Ltd,1987年。
第216段（P0218）
原文复述
Leonard, James. 2004. “CD Review: Skip Sempe Plays Louis Couperin.” All Music. http://www.allmusic.com/album/skip-sempé-plays-louis-couperin-mw0001842979.
中文讲解
参考文献条目:Leonard, James. 2004.《CD评论:Skip Sempé演奏Louis Couperin》,All Music,附URL。
第217段（P0219）
原文复述
Leonhardt, Gustav. 1987. “Armand-Louis, François, Louis Couperin - Pièces de Clavecin.” Philips Digital Classics. doi:00028942093928.
中文讲解
参考文献条目:Leonhardt, Gustav. 1987.《Armand-Louis、François、Louis Couperin羽管键琴作品集》,Philips Digital Classics。
第218段（P0220）
原文复述
Leonhardt, Gustav. 2002. “Frescobaldi, G.A/Couperin, L: Keyboard Works” Alpha: ALPHA026
中文讲解
参考文献条目:Leonhardt, Gustav. 2002.《Frescobaldi, G.A / Couperin, L:键盘作品》,Alpha:ALPHA026。
第219段（P0221）
原文复述
Lindley, M. (1977, April). Authentic Instruments, Authentic Playing. The Musical Times, Vol 118(1610), 285+287-288. doi:10.2307/958046
中文讲解
参考文献条目:Lindley, M. 1977年4月.《原真乐器与原真演奏》,《音乐时报》第118卷第1610期:285,287-288。
第220段（P0222）
原文复述
Mellers, Wilfrid. 1957. “French Classics on the Gramophone.” Music & Letters 38 (1). Oxford University Press: 66–73. http://www.jstor.org.virtual.anu.edu.au/stable/730638.
中文讲解
参考文献条目:Mellers, Wilfrid. 1957.《唱片上的法国古典作品》,《音乐与书信》第38卷第1期,牛津大学出版社:66-73。
第221段（P0223）
原文复述
Moroney, Davitt. 1976. “The Performance of Unmeasured Harpsichord Preludes.” Early Music 4 (2). Oxford University Press: 143–51. http://www.jstor.org.virtual.anu.edu.au/stable/3125509.
中文讲解
参考文献条目:Moroney, Davitt. 1976.《无量化羽管键琴前奏曲的演奏》,《早期音乐》第4卷第2期,牛津大学出版社:143-51。
第222段（P0224）
原文复述
Moroney, Davitt. n.d. “Prélude Non Mesuré.” Grove Music Online. Retrieved March 22, 2014, from http://www.oxfordmusiconline.com/subscriber/article/grove/music/22290
中文讲解
参考文献条目:Moroney, Davitt.无日期.《Prélude Non Mesuré》,《Grove Music Online》,检索日期2014年3月22日,附URL。
第223段（P0225）
原文复述
Moroney, Davitt. Pièces de Clavecin de Louis Couperin. Monaco: Éditions de l’Oiseau-Lyre, 1985.
中文讲解
参考文献条目:Moroney, Davitt.《Louis Couperin羽管键琴作品集》,摩纳哥:Éditions de l’Oiseau-Lyre,1985年。
第224段（P0226）
原文复述
Neumann, Frederick. 1988. “The Notes Inégales Revisited.” The Journal of Musicology 6 (2). University of California Press: 137–49. doi:10.2307/763711.
中文讲解
参考文献条目:Neumann, Frederick. 1988.《Notes Inégales再审视》,《音乐学杂志》第6卷第2期,加州大学出版社:137-49。
第225段（P0227）
原文复述
Parville, Manuscrit. 1670. Pièces de Clavecin c.1670. Music Libr. University of California, Berkeley.
中文讲解
参考文献条目:Parville手稿,1670年。《约1670年羽管键琴作品集》,加州大学伯克利分校音乐图书馆。
第226段（P0228）
原文复述
Pfeiffer. (1979). ‘Das französische prélude non mesuré für Cembalo: Notenbild, Interpretation, Enfluss auf Froberger, Bach, Händel. NZM, 132 - 36.
中文讲解
参考文献条目:Pfeiffer. 1979.《法国prélude non mesuré用于大键琴:记谱、诠释、对Froberger、Bach、Händel的影响》,NZM:132-36。
第227段（P0229）
原文复述
Taruskin, Richard. n.d. “Chapter 5 Virtuosos.” http://www.oxfordwesternmusic.com/Volume3/actrade-9780195384833-chapter-005.xml.
中文讲解
参考文献条目:Taruskin, Richard.无日期.《第5章:名家》,附URL。
第228段（P0230）
原文复述
Rousset, Christophe. 2010. “Louis Couperin Harpsichord Suites.” Aparte: AP006.
中文讲解
参考文献条目:Rousset, Christophe. 2010.《Louis Couperin羽管键琴组曲》,Aparte:AP006。
第229段（P0231）
原文复述
Saint-Lambert, Michel de. Les Principes Du Clavecin. Geneve: Minkoff, 1974.
中文讲解
参考文献条目:Saint-Lambert, Michel de.《羽管键琴原理》,日内瓦:Minkoff,1974年。
第230段（P0232）
原文复述
Salter, Lionel. 2012. “Gustav Leonhardt Obituary.” The Guardian.
中文讲解
参考文献条目:Salter, Lionel. 2012.《Gustav Leonhardt讣告》,《卫报》。
第231段（P0233）
原文复述
Salter, Lionel. n.d. “Landowska, Wanda.” Grove Music Online. http://www.oxfordmusiconline.com.virtual.anu.edu.au/subscriber/article/grove/music/15951.
中文讲解
参考文献条目:Salter, Lionel.无日期.《Landowska, Wanda》,《Grove Music Online》,附URL。
第232段（P0234）
原文复述
Schott, Howard. 1971. Playing the Harpsichord. London: Faber and Faber Limited, 1971
中文讲解
参考文献条目:Schott, Howard. 1971.《羽管键琴演奏》,伦敦:Faber and Faber Limited,1971年。
第233段（P0235）
原文复述
Schott, Howard. n.d. “Tilney, Colin.” Grove Music Online. http://www.oxfordmusiconline.com.virtual.anu.edu.au/subscriber/article/grove/music/27969?q=tilney&search=quick&pos=1&_start=1#firsthit.
中文讲解
参考文献条目:Schott, Howard.无日期.《Tilney, Colin》,《Grove Music Online》,附URL。
第234段（P0236）
原文复述
Schott, Howard and Edward Kottick. 2014. “Zuckermann, Wolfgang Joachim.” Grove Music Online.
中文讲解
参考文献条目:Schott, Howard与Edward Kottick. 2014.《Zuckermann, Wolfgang Joachim》,《Grove Music Online》。
第235段（P0237）
原文复述
Schott, Howard. n.d. “Leonhardt, Gustav.” Grove Music Online. http://www.oxfordmusiconline.com.virtual.anu.edu.au/subscriber/article/grove/music/16435?q=gustav+leonhardt&search=quick&pos=1&_start=1#firsthit.
中文讲解
参考文献条目:Schott, Howard.无日期.《Leonhardt, Gustav》,《Grove Music Online》,附URL。
第236段（P0238）
原文复述
Schott, Howard. n.d. “Asperen, Bob van.” Grove Music Online. http://www.oxfordmusiconline.com.virtual.anu.edu.au/subscriber/article/grove/music/43297?q=van+asperen&search=quick&pos=1&_start=1#firsthit.
中文讲解
参考文献条目:Schott, Howard.无日期.《Asperen, Bob van》,《Grove Music Online》,附URL。
第237段（P0239）
原文复述
Sealey, Mark. 2011. “CD Review: Pièces de Clavecin.” Classical Net. http://www.classical.net/music/recs/reviews/a/apt00006a.php.
中文讲解
参考文献条目:Sealey, Mark. 2011.《CD评论:Pièces de Clavecin》,Classical Net,附URL。
第238段（P0240）
原文复述
Sempé, Skip. 2004. “Louis Couperin.” Alpha: ALPHA333.
中文讲解
参考文献条目:Sempé, Skip. 2004.《Louis Couperin》,Alpha:ALPHA333。
第239段（P0241）
原文复述
Service, Tom. 2012. “Gustav Leonhardt: Precision, Coolness, Brilliance - and Alfa Romeos.” The Guardian. https://www.theguardian.com/music/tomserviceblog/2012/jan/19/gustavleonhardt-harpsichord-early-music.
中文讲解
参考文献条目:Service, Tom. 2012.《Gustav Leonhardt:精确、冷峻、辉煌——以及Alfa Romeo》,《卫报》,附URL。
第240段（P0242）
原文复述
Smith, Richard Langham. 1993. “Reviewed Work: The Art of the Unmeasured Prelude for Harpsichord by Colin Tilney.” Edited by Colin Tilney. Early Music 21 (1). Oxford University Press: 131–33. http://www.jstor.org.virtual.anu.edu.au/stable/3128338.
中文讲解
参考文献条目:Smith, Richard Langham. 1993.《评论作品:Colin Tilney著〈羽管键琴无量化前奏曲艺术〉》,《早期音乐》第21卷第1期,牛津大学出版社:131-33。
第241段（P0243）
原文复述
Spitzer, John, and Neal Zaslaw. 1986. “Improvised Ornamentation in Eighteenth-Century Orchestras.” Journal of the American Musicological Society 39 (3). [University of California Press, American Musicological Society]: 524–77. doi:10.2307/831627.
中文讲解
参考文献条目:Spitzer, John与Neal Zaslaw. 1986.《18世纪管弦乐队中的即兴装饰》,《美国音乐学学会杂志》第39卷第3期:524-77。
第242段（P0244）
原文复述
Stein, Daniel. 2012. Jazz Perspectives: Music Is My Life: Louis Armstrong, Autobiography, and American Jazz. Ann Arbor, US: University of Michigan Press. http://site.ebrary.com/lib/anuau/docDetail.action?docID=10562722.
中文讲解
参考文献条目:Stein, Daniel. 2012.《爵士视角:音乐即我生命:Louis Armstrong、自传与美国爵士》,安娜堡:密歇根大学出版社,附URL。
第243段（P0245）
原文复述
Taruskin, Richard. 2009. “Chapter 5 Virtuosos.” In Music in the Nineteenth Century. New York: Oxford University Press. http://www.oxfordwesternmusic.com/Volume3/actrade 9780195384833-chapter-005.xml.
中文讲解
参考文献条目:Taruskin, Richard. 2009.《第5章:名家》,收入《19世纪音乐》,纽约:牛津大学出版社,附URL。
第244段（P0246）
原文复述
Taruskin, Richard. “On Letting the Music Speak for Itself: Some Reflections on Musicology and Performance.” The Journal of Musicology 1, no. 3 (1982): 338–49.
中文讲解
参考文献条目:Taruskin, Richard.《让音乐自身说话:音乐学与演奏的一些反思》,《音乐学杂志》第1卷第3期(1982年):338-49。
第245段（P0247）
原文复述
Thompson, Shirley. 2002. “Once More into the Void: Marc-Antoine Charpentier’s ‘Croches Blanches’ Reconsidered.” Early Music 30 (No. 1): 82–92. http://www.jstor.org/stable/3519281.
中文讲解
参考文献条目:Thompson, Shirley. 2002.《再次进入虚空:Charpentier的’Croches Blanches’再思》,《早期音乐》第30卷第1期:82-92。
第246段（P0248）
原文复述
Tilney, Colin. 2009. “Fugue - Bach and His Forerunners.” Music and Arts Programs of America: CD-1226.
中文讲解
参考文献条目:Tilney, Colin. 2009.《赋格——Bach与其先驱》,Music and Arts Programs of America:CD-1226。
第247段（P0249）
原文复述
Tilney, Colin. 1991. The Art of the Unmeasured Prelude for Harpsichord, France, 1660 - 1720. London: New York: Schott & Co. Ltd, 1991.
中文讲解
参考文献条目:Tilney, Colin. 1991.《1660-1720年法国羽管键琴无量化前奏曲艺术》,伦敦、纽约:Schott & Co. Ltd,1991年。
第248段（P0250）
原文复述
Troeger, Richard. “The French Unmeasured Harpsichord Prelude.” Early Keyboard Journal, 89–119. 1992.
中文讲解
参考文献条目:Troeger, Richard.《法国无量化羽管键琴前奏曲》,《早期键盘杂志》:89-119,1992年。
第249段（P0251）
原文复述
Troeger, Richard. 1983. “Metre in Unmeasured Preludes.” Early Music 11 (3). Oxford University Press: 340–45. http://www.jstor.org/stable/3138021.
中文讲解
参考文献条目:Troeger, Richard. 1983.《无量化前奏曲中的节拍》,《早期音乐》第11卷第3期,牛津大学出版社:340-45。
第250段（P0252）
原文复述
Tsuruta, Tamiko. 2010. “Twentieth-Century Performance Practices of Préludes Non Mesurés by Louis Couperin.” ProQuest Dissertations Publishing. http://anu.summon.serialssolutions.com/2.0.0/link/0/eLvHCXMwnV3NTsMwDLaAXRAH_gUM pLxAoUtT0pyQGEw7cGP3KWkSbRJqB6WgPRLPwYthdw1UQ-LA0U2lqmnj2LG_7wNI-GUcrfkEkfCMqMZzo-LU-MRmmEkbTL9IJ8c1PTUdbRgIrBDt1w5OsvHctszp0Byzdtz8CRh5s3iOSEWKqq2tpMYm9DgRXuL_ Hd-O17P3YGOmkFA.
中文讲解
参考文献条目:Tsuruta, Tamiko. 2010.《Louis Couperin无量化前奏曲的20世纪演奏实践》,ProQuest博士论文出版,附URL。
第251段（P0253）
原文复述
Tunley, David. 2004. François Couperin and “the Perfection of Music.” Aldershot, Hants, England: Ashgate Publishing.
中文讲解
参考文献条目:Tunley, David. 2004.《François Couperin与’音乐的完美’》,Aldershot, Hants, England:Ashgate Publishing。
第252段（P0254）
原文复述
Van Asperen Bob. (1992). Louis Couperin: Pièces de Clavecin. EMI Classics: 54340.
中文讲解
参考文献条目:Van Asperen, Bob. 1992.《Louis Couperin:羽管键琴作品集》,EMI Classics:54340。
第253段（P0255）
原文复述
Woolf, Jonathan. n.d. “Review: Contrapuntal Byrd.” Music Web International. http://www.musicweb-international.com/classrev/2016/Apr/Byrd_keyboard_CD1288.htm.
中文讲解
参考文献条目:Woolf, Jonathan.无日期.《评论:对位法的Byrd》,Music Web International,附URL。
脚注 / 边栏 / 图表 / 附加信息（如有）
本节(P0003-P0008含脚注;P0009-P0018为’SOURCE DOCUMENTS’部分;P0019-P0038为’和弦演奏’分析;P0039为小结;P0040-P0057为’音符位置’分析;P0058-P0066为’连线诠释’分析;P0067-P0101为’节奏多样性’分析;P0102-P0139为’结论’;P0140-P0143为附录二,仅含一张d’Anglebert装饰符号表占位符及脚注;P0144-P0169为附录三,含Gerlin、Leonhardt、Tilney、van Asperen、Rousset五位演奏家传记;P0170-P0255为完整参考文献目录,涵盖Anderson至Woolf约85项学术与录音资料。)
💡 本节核心要点
- 本节基于原始文献(Lebègue与F. Couperin序言)与五位演奏家的录音,围绕四个风格方面——和弦演奏、音符位置、连线诠释、节奏多样性——系统分析现代诠释的差异与传承关系。
- 音高与音律(temperament)方面:1600年代A1音高浮动于388至490之间,仅有三份录音提供mean tone音律信息,作者推测现代演奏者宜考虑中庸全音律,但承认这更多是推测而非证据。
- 和弦演奏方面:五位演奏家均未遵循Lebègue关于重击和弦的建议;Gerlin依赖Landowska影响,加八度强化低音;Sempé依靠8’/8’/4’音栓的强共鸣;Leonhardt与Rousset不重击;Tilney仅在开篇和弦处重击一次;结论是更具信息量的呈现方式反而避免重击以简化诠释。
- 音符位置方面:Gerlin遵循Landowska’填补空白’原则加八度;Sempé添加额外装饰与音符以体现即兴;Leonhardt改变部分音符次序;只有最新录音Tilney(2009)与Rousset(2010)严格按Lebègue与F. Couperin建议演奏。
- 连线诠释方面:连线可绑定和声组、指示保持时间、标示终止单位;Gerlin未传达连线差异;Leonhardt、Sempé、Tilney、Rousset保持和声连线;小节线被解读为结构说明而非听觉指令;最长水平连线(第5、9小节)演奏差异与乐器共鸣相关。
- 节奏多样性方面:notes inégales是关键因素,Gerlin风格最激进(极重附点),Leonhardt受Fuller 1981年文章影响几乎不可察;Sempé最快,Leonhardt/Rousset节奏稳定;Froberger-Frescobaldi传统与Couperin托卡塔结构相关;速度上Tilney与Gerlin最长(2:20),Sempé最短(1:31);先前’更大节奏多样性’的假设不成立,诠释实际相当相似。
- 结论层面:研究意义在于首次比较同一prélude non mesuré录音并整合史料与个人演奏;Gerlin未受历史文献明显启发;Leonhardt-Rousset-Sempé-Tilney存在教学影响链;原始文献有限但提供有价值的理论指引;演奏者应在自由发挥与史料建议间取得平衡,想象力与艺术智慧至关重要。
🔑 关键术语
- prélude non mesuré：无量化前奏曲,17世纪法国羽管键琴体裁,以非严格节奏记谱为特征,允许演奏者即兴处理节奏、装饰与和声。
- croches blanches：白色(或未带符尾)音符,L. Couperin与d’Anglebert所用的非节拍化记谱方式,为prélude non mesuré的典型记谱形式。
- style brisé：分解和弦风格,即连续滚动演奏和弦音而非同时击键,本节中Gerlin在开篇D小调和弦上的典型处理方式。
- quarter-comma meantone：四分之一音差中庸全音律,17世纪前半叶常见的键盘律制,产生强烈而略带’不纯’的音色,Egarr形容其如Roquefort奶酪的’浓郁刺激’。
- notes inégales：法国’不等音符’演奏实践,在不破坏基本节拍的前提下将等长音符奏成长短不等(通常附点化),为prélude non mesuré节奏多样性的关键来源。
- tenues与liaisons：两类谱面连线:tenues为单线,表示单个音符的延长;liaisons为多线,绑定多个音符形成和声组——二者在prélude non mesuré中有多重诠释可能。
- Pleyel harpsichord：Pleyel羽管键琴,20世纪复兴乐器,Gerlin所使用,具有独特音色与共鸣,现已被视为古董;与1950年代后开始流行的Zuckermann仿制套件形成对比。
- landowska influence：Landowska影响:Wanda Landowska(20世纪早期羽管键琴复兴先驱)主张17-18世纪作品为和声骨架需大量装饰与填补,Gerlin是其风格延续的代表。
- Bauyn与Parville manuscripts：Bauyn与Parville手稿:L. Couperin作品的两种主要原始手稿,本节在第10R7-8与11R10等处比较两者差异(C4与G4等额外音符的存在与否)。
- Bowen framework：Bowen方法论框架:José Bowen提出的将作品分析与演奏史结合的方法,本节用以分析五份录音中诠释与记号细节、演奏风格的变化。