A Study On The Artistic Style Of Western Command Art

At the end of 19 th century to mid 20 th century. There were three types of conduct style in conductor circle: objective reproduction style, subjective expression style and objective-subjective fusion style. Objective reproduction of style’s core is to faithful to the original, respect the emotion of composer, subjective expression style respect the conductor’s subjective feelings and his recreation, subjective and objective fusion conductor on the basis of these two features, on one hand,faithful to the original in a certain extent, on the other hand they also interpret works with their own subjective point of view, works is engraved on the brand of the color of individual character. This thesis take the conductor art history as the clue, take the three types of conduct style as the core,further explore the aesthetic connotation of conduct style of Western art, by the case study and comparative research on conductor’s works.This thesis is divided into six chapters:The first chapter, the establishment and generation of western conduct art style. This chapter is divided into three sections. At first, the author gives a brief account of the 13 th century to the 19 th century Western conduct art history; secondly, the author introduce the style, representative figure and impact of Wagner conduct school and Germany-Austria conduct school of art style in conduct history.The second chapter, objectively reflect the artistic style of conduct. This chapter is divided into four sections. The author come first with the objective and subjective and the relationship between the philosophical implication, to clear the division of subjective and objective is relative, subjective expression sent conductor from the self understanding of deconstruction of the original, and to reproduce the objective conductor pie more likely from the composer’s feeling of interpretation of the original. Secondly, based on the reproduction of the objective of operational art founder, Arturo Toscanini, for example, from his conduct style formation factors analysis objectively reflect the style of the conduct. Finally, the author further clarifies the objective representation type conduct style with the conduct performance audio data of Walter’s the “Brahms’ s first symphony” and Muti’s “ Mozart’s fortieth Symphony”.The third chapter, the study on the subjective expression of conduct style. This chapter is divided into four sections. The author take the representative subjective expression style conduct figure Furtwangler as an example, to summary the formation factors, types and characteristics of subjective expression conduct style. To get to a better understanding of the apparent differences between the subject and object conduct style, the author give the comparison between Furtwangler and Toscanini. Finally, the author take Mariss Jansons’ “Tchaikovsky’s Pathetique symphony”,Kleiber’s “Beethoven’s Seventh Symphony” as an example, further elaborated the characteristics of different subjective expression style of the conduct in performance.The fourth chapter, the study on the subjective and objective fusion of conduct art style. This chapter is divided into four sections. The subjective and objective fusion conduct type is formed related to pluralistic development of western social ideological and cultural trend in 20 th century,and it is also the result of the collision between subjective and objective conduct style. Karajan as the representative figure of multiple fusion conduct style, he is faithful to the original, and he reasonable at recreation style of conduct, which is identified by the modern conduct theory research and practice playing, it has a profound impact.The fifth chapter is the comparative study of three kinds of conduct style case. This chapter is divided into four sections, this chapter is the comparative analysis for the conductors’ performance in different periods and different occasions, mainly including Toscanini, Furtwangler and Karajan’s act at “Beethoven’s fifth symphony”, Walter, Kleiber, Claudio Abbado’s interpretation of “Brahms4th Symphony” and Muti, Tchaikovsky, Seiji Ozawa’s conduct to “Tchaikovsky’s 5th Symphony”.The sixth chapter, aesthetic performance of western conduct art style. This chapter firstly discusses the relationship between existence and beings through Phenomenological aesthetic theory and analyses the way how it guides the expression of recreation and its aesthetic evaluation.Secondly, the author researches how self-discipline, heteronomy and Phenomenological aesthetic theory affected on three kinds of conducting style according to the clue to the development of modern western philosophy of music and draw a conclusion that the essential difference between three kinds of conducting style is from which perspective the conductor looking at the score. There is no pure subjective or objective conducting style. The categorization of conducting style can only be relative. Finally, the semiotics theory can also be used for reference to the research of attitude aesthetics of the conducting action.The author made a discussion in the conclusion on the two objective problems of the development of the modern conduct art. The first is the modern aesthetic art of conduct; the second is the relationship between conduct and national culture. Further research on these two issues will help to better understand the characteristics of modern Western conduct art, also provides information for the teaching theory and practice of China’s conduct.