摘要：本文分别从音乐学、文化与文学理论、心理分析及个人体验等视角，悉心解释了海顿弦乐四重奏“五度”第一乐章展开部第85-88小节的东方主义符号能指的丰富涵义。四小节乐句中的增二度音程、弗里吉亚调式、重复节奏、平行五度、固定低音等形式修辞实际被海顿注入了丰富的东方主义意涵，只是碍于根深蒂固的“纯音乐”思维，人们长期对此视而不见。惟有正视深埋于西方18世纪艺术音乐中的东方主义符号元素，而非简单将之归入18世纪西方共性和声法则范畴，才可以确切解读这部作品的意义。

关键词：海顿，四重奏，东方主义，异国情调，土耳其

中图分类号：J657.641.4    文献标识码：A    DOI：10.3969/j.issn1003-7721.2014.01.000

作者简介：保罗·克里斯蒂安森（Paul Christiansen），美国加州大学音乐学与批评学博士；译者简介：杨婧（1981-），女，文学博士，中央音乐学院音乐学研究所2012级西方音乐史方向博士后（北京100031）。

收稿日期：2013—06—23

The Turk in the Mirror: Orientalism in Haydn’s String Quartet in D Minor, Op.76,No.2(“Fifths”)

Chinese Translation by YANG Jin

Abstract: This article draws from musicology，cultural and literary theory, psychoanalysis as well as personal experience in order to explain Orientalist signifiers of measures 85-88 in the development section of the first movement of Haydn’s ‘Fifths’Quartet.. In fact, this passage could have contained eight of them：augmented seconds, Phrygian mode, repetitive rhythms, parallel movement in fifths，and ostinato. It is difficult to imagine that this passage could have contained any more Orientalist signifiers and still have made sense as Western art music at the twilight of the twilight of the eighteenth century.

Key Words: Haydn; quartet; Orientalism; Turkish.; exoticism,