中国音乐美学:现状与前瞻(上)  

Chinese Music Aesthetics:Current Situation and Prospects(Part A)

作　　者：罗艺峰[1,2] Luo Yifeng

机构地区：[1]中国音乐学院 [2]西安音乐学院,西安710061

出　　处：《北方音乐》2022年第1期65-73,共9页Journal of the Northern Music

基　　金：教育部人文社科重点研究基地“中央音乐学院音乐学研究所”国家“十三五”重大研究项目《中国专业音乐理论研究与应用未来发展》(批准号16JJD760001)子课题“中国音乐美学未来发展研究”资助和课题组诸成员的学术支持

摘　　要：文章观察讨论了21世纪前20年中国音乐美学的现状和存在的突出现象,前瞻拟测了本学科可能的未来发展,提出了中国经典音乐美学、传统音乐美学、中国音乐美学史以及中国音乐思想史诸学科的分立、互融、相楔的学科状态。思辨的问题是:作为最富批判精神、最具思想性质的人文学科,音乐美学如何保持自己的学科品格?理论建设与理论运用是什么关系?介入性美学与自足性美学的意义和价值区别何在?“批判理论”的阙如和不足为什么会影响本学科的发展?本文对中国音乐美学态势的观察,与作者对本学科的期待有密切联系。Scrutinizing the situation and prominent phenomena of Chinese music aesthetics in the first two decades 21st century,the article predicts the possibilities of the discipline.The author suggests its subdisciplines,including Chinese classic music aesthetics,traditional music aesthetics,Chinese music aesthetics history,and the thought history of Chinese music,should be in an independent,integrate,and mutual supporting status.The author also contemplates these questions:As the most critical and ideological humanities,how does music aesthetics maintain its own disciplinary character?What is the relationship between the theory construction and application?What is the difference of the meaning and the value between the interventional aesthetics and self-contained aesthetics?Why do the deficiencies of“critical theory”affect the discipline development?At last,the observation of Chinese music aesthetics research tendency in the article is closely related to the author’s expectations of the discipline.

关 键 词：中国音乐美学 现状 前瞻 拟测 

分 类 号：J601[艺术—音乐]