二十世纪西方现代和声的审美现代性分析(上)  

Analysis(part Ⅰ) on the Aesthetical Modernity of the 20th Century Modern Western Harmony

作　　者：何宽钊[1] 

机构地区：[1]中央音乐学院音乐学系,北京100031

出　　处：《南京艺术学院学报（音乐与表演版）》2013年第4期28-37,221,共10页Journal of Nanjing Arts Institute:Music & Performance

基　　金：2013年度文化部艺术科学研究项目<西方和声发展的哲学--美学阐释>(项目编号:13DD20)的阶段性成果

摘　　要：启蒙现代性与审美现代性本为同源,启蒙现代性催生了审美现代性,和声作为一种审美现代性根本就是启蒙现代性规划的产物。然而在随后的发展中,审美现代性逐渐走向了启蒙现代性的反面。在20世纪现代音乐那里,和声更是对启蒙现代性的直接对抗甚至消解。从审美现代性与启蒙现代性相对抗的动力学角度观察,20世纪和声体现了各种激进的自由主义和个人主义;20世纪的和弦结构拒绝启蒙现代性的有限性,坚持寻求扩张;20世纪的调性观念从关系确证模式走向自我确证模式;20世纪和声进入以非功能为主流的模式。The enlightening modernity and aesthetic modernity originally share the same root while the former catalyzed the formation of the latter. Harmony, which belongs to the aesthetic modernity, is a product of the enlightening modernity. In the process of its development the aesthetic modernity has gone to the opposite side of the enlightening modernity and in the contemporary music of the 20th century harmony has come to direct conflict with the enlightening modernity. The 20th century Harmony embodies a variety of radical liberalism and individualism and its chord structure refuses to stay within the limit of the enlightening modernity. The concept of tonality in the 20th century has gone from the relationship corroboration model to the self-corroboration model and its harmony has mainly turned away from the functional one.

关 键 词：启蒙现代性 审美现代性 和声 去魅化 合理化 

分 类 号：J601[艺术—音乐]