布尔迪厄的音乐社会学美学思想  

Bourdieu’s Thought of Musical Sociological Aesthetics

作　　者：王文卓[1] WANG Wenzhuo

机构地区：[1]山西师范大学音乐学院,临汾041004

出　　处：《黄钟（武汉音乐学院学报）》2020年第2期142-147,168,共7页Huangzhong:Journal of Wuhan Conservatory of Music

基　　金：福建省高校人文社会科学研究基地流行音乐研究中心(闽江学院)项目“流行音乐的审美问题研究”(项目编号:FJMJYY2019B01)的阶段性成果。

摘　　要：在整体观察布尔迪厄的社会学研究基础上,文章梳理出他的音乐社会学美学部分。在布尔迪厄看来,音乐审美趣味能明显地表征出社会阶层的差异性。他对统治阶级、中产阶级和大众阶级的音乐审美趣味的差异性进行了深入研究。在解析布尔迪厄的这部分思想时,我们应充分重视他提出的实践“公式”的理论指导意义。只有对习性、资本、场、审美配置等概念进行考察与解读,我们才能明确看到其音乐社会学美学思想的内核及特征。布尔迪厄不专门从事美学研究,因此我们在分析其思想局限的同时,更应该看到他的理论贡献及对国内音乐社会学美学研究的启发意义。This article discusses Bourdieu’s thought of musical sociological aesthetics based on his sociology theory.Bourdieu studied the differences aesthetic tastes of music among top class,middle class,and mass,considered them a clear demonstration of audiences’social backgrounds.When analyzing his thought,we should pay special attention to the theoretical guiding significance of his practical“formula”.Only by investigating and interpreting the concepts of habit,capital,field,aesthetic dispositions and so on,can we clearly understand the core and characteristics of his musical sociological aesthetics.Bourdieu was not a specialist in music aesthetics,thus with recognizing his limitations,we should focus more on his theoretical contribution and along with inspiration to our studies of musical sociological aesthetics.

关 键 词：皮埃尔·布尔迪厄 区分 社会学美学 音乐审美趣味 反思 

分 类 号：J601[艺术—音乐]