| 摘要: | 自十九世紀發展迄今，音樂美學雖然流派眾多，但大致不外乎擺盪於“形式至上”及“內容至上”兩大極端之間的各種美學觀點，以及二十世紀初才興起，採用現象學式的觀容方法，強調音樂之時間特性的一門新興美學。這諸家學派雖各有其精闢論點，但卻都受限於各自之哲學前提，而沒有一種學說能夠涵藝音樂的各個層面。直至二十世紀後期，一種折衷式美學的風潮漸漸形成，採折衷觀點的美學家們以較寬廣的，兼容並蓄的態度來看待美學史上長期以來的「絕對音樂」與「標題音樂」的外在現象(Musical Phenomena)，再分析其理性架構(Music Syntax)，最終透視其感性內在(Musical Reference)。在諸多相關的論述中，Lawrence Ferrara(3)所終出的一套“哲衷式分析方法”是相當清楚及完備的方法論。本文採折衷主義之美學觀點，深入探討存在於音樂現象、結構、及內容各方面的構成要素，以作為更進一步之折衷美學探討的基礎。全文分五部份：一、歷史背景：將西方自希腦以至於近代，與音樂相關的美學論述，以及十九世紀以來之美學流作一簡要介紹。二、理論架構：呈現折衷式美學的思想體系。三、音樂基本要素：時間要素、聲音要素、表情要素。四、音樂形式：音樂的“型” ，和“音樂的形式”。五、音樂內涵：1.音樂的描繪性。2.音樂的情感表達。3.音樂的存在訊息。本文並附《史克里亞賓: B大調前奏曲，Op.2，No. 2之荀克式分析》以供參考。
Since the nineteenth century, music aesthetics has been developed into various schools of thoughts, and almost every of them approaches music from different aesthetic view, which can be classified into two extremely different trends: One focuses on the formal aspect of music (e. g. formalism), while the other has a preference for the content of music (e. g. hermeneutics). In addition to these two trends, a new aesthetic methodology based on phenomenology, which emphasises the temporal aspect of music (phenomenological analysis), appeared at the beginning of the twentieth century. All these aesthetic schools of thoughts have excellent ideas and theories, but, limited by their philosophical presuppositions, none of them can cover every aspects of music. Until the end of the twentieth century, an eclectic school of thoughts started to catch people's attention-Aesthetes with eclectic view treat the argument between "program music" and "absolute music" in an open and more tolorent way. Moreover, they developed methodologies which establish bridges between the various levels of musical significance, which are, the referential level of music and the intrinsic levels of music syntax and time. They described the musical phenomena first, then analized the musical syntax, and finally interpreted the musical reference. Among all the methodologies, the eclectic method for musical analysis proposed by Lawrence Ferrara is a very clear and complete one. In this thesis, eclecticism will be adopted to discuss the constitutional elements of musical phenomena, syntax, and reference. This will be the foundation for further aesthetic discussions.The thesis consists of five parts: 1.Historical background: The aesthetic discussions about music since ancient Greece, and the aesthetic schools of thoughts starting from the nineteenth century will be introduced here. 2.Theoretical framework: The methodological system of eclectic aesthetics will be presented. 3.The basic elements of music (phenomenological level): temporal elements, tonal elements, and expressive elements. 4.The form of music (syntactical level): the "Form" of music and "musical forms". 5.The reference of music (referential level): musical representation, virtual feeling, and onto-his-torical world. An schenkerian analysis on Scrlabin's prelude in B Major, Op. 2, No. 2 will be included as a referenc. |
