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

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

Harvard University Press, Cambridge, 1952.

以下為嘗試翻譯稿，請(qǐng)謹(jǐn)慎閱讀。如有誤導(dǎo)，概不負(fù)責(zé)。

事實(shí)上，我們不能獨(dú)立于其表現(xiàn)出來(lái)的形式來(lái)觀察創(chuàng)作現(xiàn)象本身。每一個(gè)形式化過(guò)程都源自某一原則，而對(duì)這一原則的研究所需要的恰恰是我們所說(shuō)的教條。換句話說(shuō),我們對(duì)于從混沌中尋求秩序，從多可能性的糾結(jié)和模糊想法的優(yōu)柔寡斷中解救出來(lái)的需求，都預(yù)示著某種教條主義的必要性。我使用“教條”和“教條的”這兩個(gè)詞，僅僅是在它們特指某個(gè)維護(hù)藝術(shù)和思想的完整性的必要元素的情況下。我認(rèn)為在這種語(yǔ)境下他們并不僭越其語(yǔ)義。

P6.關(guān)于音樂(lè)的詩(shī)學(xué)形式的六節(jié)課,伊戈?duì)枴に固乩乃够?/p>

哈佛大學(xué)出版社，劍橋市, 1952年。

1. 本篇英文原稿來(lái)自Mask of Medusa，by John Hejduk；

2.?Igor Stravinsky，伊戈?duì)枴し频侣寰S奇·斯特拉文斯基。美籍俄國(guó)作曲家、指揮家和鋼琴家，西方現(xiàn)代派音樂(lè)的重要人物。