音乐审美的体验性特征与主体性发展初探  

Exploration on the Experience Principle and Subjectivity of Musical Aestheticism

作　　者：邓双林[1] 

机构地区：[1]北京科技大学文法学院艺术教育中心,北京100083

出　　处：《北京科技大学学报（社会科学版）》2009年第3期90-94,共5页Journal of University of Science and Technology Beijing(Social Sciences Edition)

摘　　要：音乐审美过程主要是一个感知、体验过程而不是理性思辨过程。在音乐美学研究中不应强调简单、抽象的知识灌输和再现性内容的阐释,而应该认识音乐体验的重要性,强调在体验中建立音乐欣赏能力。康德论述审美判断的三个特质有助于我们认识音乐审美体验的特性,它们是:个人在主观中完成、纯粹性和普遍性。孟子"耳之于声也,有同听焉"的美学思想也有助于我们认识到感受音乐美的能力,这一认识对于作为整体的人类来说具有普遍性。从马克思的艺术活动为对象生产主体、音乐感觉是人的本质力量的确证等学说,我们得到启示:应注重在音乐的感性体验中建构、发展人的主体性,而增强对音乐美的体验能力、感知能力,它是对人的本质力量的发现和发展。Musical aestheticism is mainly a process of sensation and experience rather than rational thought. In the study of musical aesthetiss, it＇s important to realize the importance of musical experience and then build up music enjoyment. Kant＇s three features about the aesthetic judgement are helpful for us to realize the character of music aesthetic experience. Meneius＇ thoughts are helpful for us to realize our ability of enjoying music, which is universal to the whole human beings. Marx＇s theories illustrate that is necessary to build up and develop human subjectivity in music sensation, and enhancing the ability of enjoying music as well as sensing music is the discovery and development of human natural probability.

关 键 词：审美体验 音乐特征 主体性 

分 类 号：J01[艺术—艺术理论]