玛蒂娜斯查特教授曾先后在美因兹、维也纳和柏林学习乐派音乐、音乐理论、音乐学和传统文献学。1987年她在鲁德洛夫·斯蒂芬（德国自由大学）的指导下撰写博士论文《阿诺德·勋伯格十二音技法的出现》（1990年在美因兹出版）。2008年完成了教授论文《贝多芬作品叙事学分析大纲》（2012年在波恩出版）。获得了德国国家学术基金会和德国研究社奖学金，并在美国境内（哈佛大学、洛杉矶阿诺德·勋伯格研究所，华盛顿美国国会图书馆）、克拉克夫和维也纳广泛学习与研究。她还积极参加尼尔曼在伦敦开设的小提琴高级学习班，1978年到1980年间是威斯巴登黑森州立乐团的小提琴手。1987年到2008年作为一名博士后她主要在柏林研究阿诺德·勋伯格作品全集。她还是柏林艺术大学和汉堡大学的客座教授，柏林（自由大学、汉斯艾莱丝艺术大学）和科隆音乐学院的特约教授。自2008年起担任莱比锡音乐与戏剧学院音乐研究所的教授。2015和2016年夏季学期担任维也纳音乐与表演艺术大学客座教授。2016年11月被授予艺术领域最佳教学奖。她的研究兴趣包括第二维也纳乐派、贝多芬、手稿以及版本研究。
Martina Sichardt studied School Music, Music Theory, Musicology and Classical Philology in Mainz, Vienna, and Berlin. In 1987, she finished her Dissertation "Die Entstehung der Zw?lftonmethode Arnold Sch?nbergs" [“The Emergence of Arnold Sch?nberg’s Twelve-Tone Method”] under Rudolf Stephan (Freie Universit?t Berlin), published Mainz 1990. She completed her Professorial Thesis in 2008"Entwurf einer narratologischen Beethoven-Analyse" [“An Outline of a Narratological Analysis of Beethoven”], published Bonn 2012. As a Scholarship Holder of the Studienstiftung des Deutschen Volkes and the Deutsche Forschungsgemeinschaft, she studied and researched throughout the USA (at Harvard University, the Arnold Schoenberg Institute in Los Angeles and at the Library of Congress in Washington, D.C.) as well as in Krakow and Vienna. She is also an active participant in the Master Classes for Violin by Yfrah Neaman (London). Between 1978 and 1980, she was a violinist in the orchestra of the Hessisches Staatstheater Wiesbaden. Between 1987 and 2008, her main employment was as a Post-Doctoral Researcher on the Arnold Sch?nberg Gesamtausgabe [Arnold Sch?nberg Complete EditionInstitute]in Berlin. Other positions that were held include Visiting Professor in Berlin (Universit?t der Künste) and Hamburg (Universit?t Hamburg) as well as adjunct faculty in both Berlin (Freie Universit?t, Hochschule für Musik Hanns Eisler) and Cologne (Musikhochschule). Since 2008, she was Professor at the "Hochschule für Musik und Theater Felix Mendelssohn Bartoldy" Leipzig. During the summer terms of 2015 and 2016, she was also a Guest Professor at the "Universit?t für Musik und darstellende Kunst Wien". In November 2016 she was awarded the S?chsischer Lehrpreis (Category: Kunsthochschule). Her research interests include the Second Viennese School, Beethoven, Sketch Research, and Edition.
贝多芬作品里有关叙事学的分析
"Towards a Narratological Analysis of Beethoven"
本文尝试将贝多芬的音乐创作作为叙事性的记述文进行理解与分析。我的思考主要基于艾伯哈特·兰伯特和杰拉德·热内特的叙事理论，以及对“时间”分类的关注。文中特别采用了“插入式回归”分类和其“回归”子分类以及“追溯”方法来分析贝多芬的作品。通过这种分析方法，音乐中的叙事结构能得以彰显。我的目的是为之前提到的叙事学术语做出与音乐术语相关的界定。
This paper undertakes the attempt to understand and analyze compositions of Beethoven as a narrative. My reflections are based on the narratological theories of Eberhardt L?mmert and Gérard Genette and focus on the category of "time". Especially the category of "interpolated retrospects" and its subcategories of "retrospect" and "recourse" are applied to an analysis of musical passages out of Beethoven. In doing so, narrative structures in music are revealed. It is the aim of my reflections to arrive at a musical-terminological definition of the mentioned narratological terms.
