论音乐美学研究的多维视域

发布时间：2018-03-01 19:09

本文关键词： 音乐美学学科逻辑支点音乐美学音乐哲学　出处：《音乐探索》2011年03期 　论文类型：期刊论文

【摘要】：学科逻辑支点的构建,是客观的现实性与历史的连续性紧密结合,形成无限发展的思想史长河。20世纪初,受西方美学思想影响,建立了中国音乐美学学科体系雏形,"美"才真正成为一个独立的范畴。用科学分析方法与实证取代中国传统道德和阴阳五行观念附会审美现象的方法,使音乐美学向科学靠拢,促进思维方式的转变,突破"话""、记"、"评点"式体例,有了系统、理性、严密地逻辑体系。先贤们一方面引进西方新观念为传统音乐审美观所用,另一方面又自觉不自觉地将两者相互诠释,融会贯通。从而,西方异质文化与中国传统文化的渗透与融合,建立了既不同于传统、也不同于西方的中国特色的音乐美学学科体系;架构出20世纪中国音乐美学以音乐——美育(音乐美学)——(音乐形象)音乐哲学为逻辑支点的展衍范式。
[Abstract]:The construction of the fulcrum of discipline logic is a close combination of objective reality and historical continuity, forming the endless history of thought. At the beginning of the 20th century, it is influenced by western aesthetic thoughts. With the establishment of the rudiments of the subject system of Chinese music aesthetics, "beauty" has really become an independent category. The method of scientific analysis and demonstration is used to replace the traditional Chinese morality and the concept of "Yin and Yang five elements" in order to bring the music aesthetics closer to the science. To promote the transformation of the mode of thinking, to break through the style of "words", "notes" and "comments", and to have a systematic, rational and rigorous logical system. On the one hand, the sages introduced new western concepts for the use of traditional musical aesthetics. On the other hand, they have been interpreted and fused into each other consciously and unconsciously. Thus, the infiltration and fusion of the Western heterogeneous culture and the Chinese traditional culture have established a difference between the two. It is also different from the western music aesthetics system with Chinese characteristics, which sets up the developing paradigm of Chinese music aesthetics in 20th century, which is based on the logical fulcrum of music-aesthetic education (musical image).
【作者单位】：浙江师范大学音乐学院;
【基金】：2008年浙江省哲学社会科学规划重点项目“浙江音乐史”成果之一,项目编号:08WHZT005Z
【分类号】：J601

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