音乐审美解释学对音乐审美知识论语境的消解

发布时间：2018-11-22 06:15

【摘要】：现代与后现代的博弈作为世界性的主流话语,在音乐审美领域体现为传统与现代的思想碰撞,其形式化的传统美学理念在超越性的哲学引导下被非形式化所消解,这就是音乐美学的知识论语境的消解。如此的消解使音乐的美学理念从"是什么"的形象理念进入到了无界限、无规定的"是"(存在)本身的解释学语境,从而形成了音乐美学的意义扩展,这样音乐美学从"现实"走进了"可能"的世界。当代音乐审美解释学如此从传统的出走作为人类不可逃避的文化事件,是当下音乐审美活动作为存在的基本境遇。消解知识论的"对象化"认知美学理念,意味着音乐从对"是什么"的认知美学追求,转向对音乐审美活动"是"(存在)本身的回归,亦即通过视域融合的解释活动实现音乐审美本身作为音乐审美现象的自身拯救。可以看到,关于音乐审美活动的现象学分析向"解释学"的非音乐性的靠拢,似乎是当代音乐美学的可能走向之一。
[Abstract]:As the mainstream discourse of the world, the game between modern and post-modern is reflected in the collision of traditional and modern thoughts in the field of music aesthetics, and its formal traditional aesthetic idea is eliminated by non-formalization under the guidance of transcendental philosophy. This is the elimination of the context of knowledge in music aesthetics. Such dissolving makes the aesthetic idea of music move from the image idea of "what is" to the concept of "what is" into the unbounded, unspecified "is" (existence) itself hermeneutical context, thus forming the meaning of music aesthetics expanded. In this way, music aesthetics has entered the world of possibility from reality. Contemporary music aesthetic hermeneutics is such a cultural event that human beings cannot escape from the traditional aesthetic hermeneutics, which is the basic condition of the existence of music aesthetic activities. Dispelling the "objectified" cognitive aesthetic concept of the theory of knowledge, it means that music changes from the pursuit of "what is" to the return of "being" itself to the aesthetic activity of music. That is to say, the aesthetic of music itself is saved as a phenomenon of music aesthetics by means of the interpretation of the fusion of perspectives. It can be seen that the approach of phenomenological analysis of musical aesthetic activities to the non-musical nature of hermeneutics seems to be one of the possible trends of contemporary music aesthetics.
【作者单位】：西安电子科技大学人文学院;陕西省社会科学院;长安大学马克思主义学院;
【基金】：国家社科基金项目《生态文明建设的基本伦理问题研究》(13XKS014)
【分类号】：J601

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