申論題

一、請仔細閱讀下列段落後,中文分別寫出此段的(1)主旨(愈簡短愈好)(30 %)與(2)段落中的各項論點(20%)。
※注意此題請務必忠實呈現原文要義,避免添加個人意見。
The view that the late eighteenth century marks the arrival of modernity may be a commonplace among historians of politics, economics, society, culture, literature, and art but, with the significant exception of those influenced by Adorno, it is not widely shared by music historians. Unlike the much narrower notion of early twentieth-century musical modernism, modernity is not a concept that figures often in our vocabulary. On the rare occasions when it does, the birth of modern music is located not around 1750 or 1800 but around 1600. Leo Schrade, for example, called Monteverdi the "creator of modern music" in his 1950 book on the composer, and an important current journal, Early Music History, in delimiting its scope in the subtitle Studies in Medieval and Early Modern Music, suggests that post-medieval music must be "early modern." But these are exceptional cases: in the standard usage of our music history texts, to say nothing of our concert life, twentieth-century modernism is the only "modern" music there is.
From Karol Berger, Bach's Cycle, Mozart's Arrow: An Essay on the Origins of
Musical Modernoity. (University of California Press, 2007)