[必]工 作 量：约4000 字 [必]工作报酬：每一字1元 [必]涉及语言：中译英 [必]所属领域：古典音乐/歌剧 [必]文件类型：期刊文章 [必]截 稿 日：2017.8.8 [必]应徵期限：2017.8.4 [必]联络方式：站内信 [必]付费方式：交稿後一天内付款 ────────────────────────────────────── [选]工作要求：准时交件 [选]试 译 文： Mahler’s exposition of subject groups is far from conventional in other respects, embracing a return to E flat for more reference to the tonic, an excursion to D minor for some- thing that might be development, and finally the return of the second subject in E flat with an overpowering cadence towards the tonic of that key: the 'towards' is important since Mahler wrenches away the final tonic in preparation for the true development section. It must be conceded that Mahler very seldom wrote a conventional exposition (and when he did in the opening movements of the First and Sixth Symphonies, he signalled strongly to this effect by adding conventional repeat marks). His attitude to sonata form was rather similar to his approach to literary texts. If Mayer's description of Mahler as a literary "usurper' is to be retained, it might as well be extended to his use of form. Movement after movement in his oeuvre fragments, rebuilds, and cross-breeds formal types. In the Eighth, the most spectacular example of this is the incorporation of a lengthy fugue into the development section. ────────────────────────────────────── --

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