文化自觉与西方19世纪民族乐派音乐  

Cultural Self-Consciousness and the Western Music of National Music School of the 19th Century

作　　者：叶松荣[1,2] Ye Songrong

机构地区：[1]福建师范大学中国特色西方音乐研究中心 [2]中央音乐学院音乐学研究所

出　　处：《东南学术》2020年第6期160-166,246,共8页Southeast Academic Research

基　　金：教育部人文社会科学重点研究基地中央音乐学院音乐学研究所“十三五”重大项目“中国专业音乐理论研究与应用未来发展研究”子项目“中国西方音乐史学研究及其未来发展”(项目编号:16JJD760001);国家社会科学基金艺术学项目“审美认识的边界--西方19世纪民族乐派音乐隐含‘中和’美元素研究”(项目编号:14BDO41)。

摘　　要：在中国西方音乐理论研究中,对西方19世纪民族乐派音乐的解释尚缺少主体性的文化视野。因此,在费孝通倡导的“文化自觉”理论视域下,以接受美学理论为研究范式,以“文本直观”法为参照,揭示西方19世纪民族乐派音乐及创作观念背后蕴含的具有普适价值意义的“文化自觉”之特质,即民族乐派作曲家具有对本民族音乐文化的“自知之明”,并能展现出本民族音乐文化的独特魅力以及在对他者文化的兼容并蓄中彰显本民族音乐文化转型的自主能力,从而推动民族乐派音乐从本土走向世界。以中国的文化自觉理论对西方19世纪民族乐派音乐作品意义的阐释,亦可视为中国解释学的一种研究范式。In the study of Western music theory in China,a cultural vision of subjectivity is still lacked in the interpretation of the Western music of national music school of the 19th century. From the perspective of the theory of"cultural self-consciousness"advocated by Fei Xiaotong,by regarding the theory of reception aesthetics as a research paradigm and referring to the method of "textual intuition",the paper reveals the characteristics of "cultural self-consciousness"with universal value behind the music and its creative ideas of the Western national music school of the 19th century,that is,the composers having the "self-knowledge"of their own music culture. In addition,they highlighted the unique charm of their own national music culture and demonstrated their independent ability to transform their own music culture in the integration of other cultures,thus having promoted their national music from home to the world. The interpretation of the significance of music works of the Western national music school of the 19th century by the Chinese theory of cultural self-consciousness can also be regarded as a research paradigm of Chinese hermeneutics.

关 键 词：文化自觉 普适意义 民族意识 走向世界 

分 类 号：J609.9[艺术—音乐]