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音乐美学的历史发展主要有两大时期,并分别体现着两种不同的本体论和认识论。在第一个时期中先后形成音乐美学的两个阶段:客体本体论阶段和主体本体论阶段。这两个阶段又共有着一个认识论模式,即客体中心或作品中心的模式。第二个时期是在20世纪,音乐美学开始由客体中心转向主客共建,主体在认识中的意义逐渐凸显,体现了主客间性的新理路;20世纪后期,又进一步生发出主体间性,解决了由主客间性所带来的客观性危机。同时,一种向人类学、民族学、社会学、文化学诉求的浪潮在音乐学中逐渐形成,既体现了人文科学的一种新动向,也昭示着音乐美学发展的某种必然。
The historical development of musical aesthetics has two major periods, and they respectively embody two different ontologies and epistemologies. In the first period has formed two stages of music aesthetics: the stage of ontology and the stage of ontology. Again, there is an epistemological model in these two phases, namely the model of object center or work center. The second period is that in the 20th century, the beginning of music aesthetics started to change from object center to the construction of subject and object, and the subject became more and more obvious in its cognition, which reflected the new principle of the relationship between subject and object. In the latter part of the 20th century, Solved the objectivity crisis brought by the inter-subjectivity. At the same time, a wave that is appealing to anthropology, ethnology, sociology and culture has gradually taken shape in musicology. It not only embodies a new trend of humanities but also shows some inevitability of the development of music aesthetics.