论音乐美学研究的多维视域  

On Multi-dimension of Studying Music Aesthetics

作　　者：池瑾璟[1] 

机构地区：[1]浙江师范大学音乐学院,浙江金华市321004

出　　处：《音乐探索》2011年第3期49-56,共8页Explorations in Music

基　　金：2008年浙江省哲学社会科学规划重点项目"浙江音乐史"成果之一;项目编号:08WHZT005Z

摘　　要：学科逻辑支点的构建,是客观的现实性与历史的连续性紧密结合,形成无限发展的思想史长河。20世纪初,受西方美学思想影响,建立了中国音乐美学学科体系雏形,"美"才真正成为一个独立的范畴。用科学分析方法与实证取代中国传统道德和阴阳五行观念附会审美现象的方法,使音乐美学向科学靠拢,促进思维方式的转变,突破"话""、记"、"评点"式体例,有了系统、理性、严密地逻辑体系。先贤们一方面引进西方新观念为传统音乐审美观所用,另一方面又自觉不自觉地将两者相互诠释,融会贯通。从而,西方异质文化与中国传统文化的渗透与融合,建立了既不同于传统、也不同于西方的中国特色的音乐美学学科体系;架构出20世纪中国音乐美学以音乐——美育(音乐美学)——(音乐形象)音乐哲学为逻辑支点的展衍范式。At the beginning of 20th century, under the influence of western aesthetics thoughts, the embryo of the discipline of Chinese music aesthetics has been established, up to that time, beauty became an independent category. Using Chinese traditional morality as well as the concept of yin and yang （the two opposing principles of nature） to interpret aesthetic phenomenon has been replaced by scientific analytical methods, which make music aesthetics approach science, furthetPnore, this promote the change of thinking model, having a systemic, rational and rigorous logical system. Sages, on the one hand, introduced new western concepts to annotate our traditional music aesthetics, on the other hand, to merge western concepts into traditional ones, then, set up a new subject system of music aesthetics with Chinese characteristics based on the logical support of ＂music music aesthetics-music philosophy＂.

关 键 词：音乐美学学科 逻辑支点 音乐美学 音乐哲学 

分 类 号：J601[艺术—音乐]