西方音乐阐释理论的历史梳理

发布时间：2018-01-03 13:07

本文关键词：西方音乐阐释理论的历史梳理　出处：《星海音乐学院学报》2016年03期 　论文类型：期刊论文

【摘要】：西方音乐阐释理论大致可分为中心主义和多元主义两类。前者主要分布在19世纪至20世纪中叶,后者基本上分布在20世纪后半叶以来的后现代主义及其"之后"的时段。前者对音乐的释义,经历了作者中心、作品中心和读者中心的移动。相应的理论有历史释义学、结构主义和接受美学。后者则出现了从结果到过程、从作品到文本、从确定到随机、从中心到多元,以及从单一到多样的演变,涉及解构主义、多元对话理论、生态哲学美学等后现代主义及之后的理论。各种音乐意义的阐释理论或观点都有各自的历史语境,亦有各自的逻辑结构;从关系实在论哲学观点看,这些阐释理论或观点都具有自洽的合理性。时间先后并非进化,仅为历史分布。
[Abstract]:Western music interpretation theory can be divided into two categories: centralism and pluralism, the former mainly distributed from 19th century to the middle of 20th century. The latter basically distributes in the period of postmodernism and its "after" since the second half of 20th century. The former's interpretation of music has experienced the center of the author. The corresponding theories include historical interpretation, structuralism and receptive aesthetics. The latter appears from result to process, from work to text, from certainty to randomness, from center to pluralism. And the evolution from single to diverse, involving deconstruction, pluralistic dialogue theory, ecological philosophy aesthetics and other post-modernism and post-theory. All kinds of musical interpretation theories or views have their own historical context. It also has its own logical structure; From the point of view of the philosophy of relational realism, these theories or viewpoints are self-consistent and reasonable. The time sequence is not evolution, but only historical distribution.
【作者单位】：中央音乐学院音乐学系;
【分类号】：J601
【正文快照】： 于润洋教授在《现代西方音乐哲学导论》第三章中对西方音乐释义学的历史作了梳理和研究。涉及词源、各历史阶段的表现;涉及重要人物如维柯、施莱尔马赫、狄尔泰、克莱茨施玛尔、伽达默尔、姚斯等人,在第一章中还涉及相关学派,如俄国形式主义、美国新批评派、结构主义、后结构

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