音樂美學析論(上)---從折衷式美學的角度探討音樂的基本要素、形式及內涵

Chia Nan University of Pharmacy & Science Institutional Repository > 嘉南學報 > 22期 (1996) > Item 310902800/23033

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標題:	音樂美學析論(上)---從折衷式美學的角度探討音樂的基本要素、形式及內涵 Discussion on the Basic Elements, the Form,and the Reference of Music from the Eclectic-Aesthetic Angle
作者:	曾毓芬
貢獻者:	幼兒保育系
關鍵字:	折衷式美學音樂的基本要素音樂的形式音樂的內涵 eclectic aesthetics the basic elements of music the form of music the reference of music
日期:	1996
上傳時間:	2010-09-17 15:04:55 (UTC+8)
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，採用現象學式的觀察方法，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蓋音樂的各個層面。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」之爭，並於其間架起了銜接的橋樑一以由外而內層層深入的分析方法，先描述音樂的外在現象(Musical Phenomena)，再分析其理性架構(Musical Syntax)，最終透視其感性內在(Musical Reference )。在諸多相關的論述中，Lawrence Ferrara所提出的一套 "折衷式分析方法" 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。全文分六部份：一、歷史背景:將西方自希臘以至於近代，與音樂相關的美學論述，以及十九世紀以來之美學流派作一簡要介紹。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。2.音樂中的情感表達。3.音樂中的存在訊息。本文並附《史克里亞賓:作品第二號B大調前奏曲之荀克式分析》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 difhfferent 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 asethetic 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 bv 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 and 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 six 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 fonn 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 schenkerial analysis on Scriabin's prelude in B Major, Op. 2, No. 2 will be included as a reference.
關聯:	嘉南學報 22期：p.272-285
显示于类别:	[嘉南學報] 22期 (1996)

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