Poetic Sound Presentation-Research Of Schubert's Die Winterreise D.911

Among the genres of western art music,art song,as a peculiar genre and concept,integrates poetry and music.Art music has different names and connotations in different countries and regions.For example,it is called “Mélodie” in France,“Romance” in Russia and “Lied” in Germany.This paper focuses on the song cycle Die Winterreise D.911 created by the Austrian composer Franz Schubert(1797-1828)with the poems of the German romanticism poet Wilhelm Müller(1794-1827)as the texts.Most of the studies on the musical work Die Winterreise D.911 focus on vocal music performance and teaching,style characteristics and work analysis,and value interpretation based on historical textual research while few discuss how to embody the beautiful poetic flavor of the poetry in the creation-performance-appreciation process specific to art song,a peculiar genre highlighting poetry-music combination.The author tries to introduce theory of phenomenology and combine technical analysis and actual,sensible listening experience to demonstrate how “poetic flavor” is embodied through the holistic sound.The content involves the way of existence of art song as a musical product.According to the theory of Roman Ingarden(1893-1970),musical works are pure intentional objects.This idea may be more applicable to pure instrumental works.And for poetry-based art song,is the music piece itself affected by the orientation and semantics of the poem? Can humans,the aesthetic subject,feel the poetic flavor contained in an art song in the process of listening non-instructively?Music as an art category has particularity that the other art categories do not have.That is,between creation and appreciation,performance must serve as the medium to display the emotional elements of music.Only in this way music can be appreciated by people as physical existence i.e.sound.Today,apart from on-spot stage performance,it has become a source and reserve of sensible experience for most people to listen to processed disk-recording.The problem of identity of music put forward in the field of phenomenology is also highlighted in the performance link.Zhao Songguang points out in On the Flow Path of Music Existence the “ternary creation”-acoustic processing that is different from“secondary creation” such as singing,playing and conducting.Acoustically processed recording has the repeatability that on-spot stage performance.When the performer and music engineer jointly conduct ternary creation,how can they be loyal to the original work as much as possible and retain the poetic flavor of the music work?These are the author's reflections when he studies the aesthetic value of Die Winterreise D.911 by Schubert and the problem of identity between way of existence and music work put forward from the perspective of phenomenology.Based on that,the attributes of music as an aesthetics discipline are highlighted.The author will combine the theory of phenomenology and personal experience to elaborate on how poetic flavor is embodied in the creation-performance(recording)-appreciation process of music pieces by taking the song cycle Die Winterreise D.911 for example.