回眸与反思——由“音心对映论”引起的问题意识  

Review and Reflection——Problem Awareness Caused by"Interrelationship of Sound and Heart"

作　　者：杨和平[1] 

机构地区：[1]浙江师范大学音乐学院,浙江金华321004

出　　处：《星海音乐学院学报》2009年第3期1-8,共8页Journal of Xinghai Conservatory of Music

摘　　要：本文取"音心对映论"这一改革开放后音乐美学研究领域兴起的焦点视域,通过对问题逻辑起点的理论梳理,进而对论争的焦点进行了必要的分析,又从"音心对映"与"乐心对映"、"六经注我"与"我注六经"、"基于历史"与"超于经验"这三个层面进行了比照,认为虽三层表达有别,但意思却是一个。"音心对映论"的提出,虽基于古代人的哲思智慧,更具有中国本土音乐美学的独创精神,但该论多注重音乐的外部关系,多于游戏文字、狡辩强词,而少于思想意义和实践价值,读后不免使人有盲目困惑之感。理论离开了实践,必然走进盲目,其理论也会终结。Taking “interrelationship of sound and heart”, a focus field of Musical Aesthetics research initiated after the Reform and Opening-up as contention,by rearranging the logic of the question, analyzing the focus of the dispute, and comparing from different layers, the author came to the conclusion that even if based on the wisdom of ancient time, such controversy cares more about the outer relations of music and wording games, but is short of significance in thoughts and value in practice, therefore leaves readers more in confusion. When theory runs without practice, it will end in blindness, thus to result in termination of the theory.

关 键 词：音心对映 问题意识 音乐美学研究 

分 类 号：J601[艺术—音乐]