期待与回声——从历史预言看西方现代音乐  

Expectation and Echoes——From the Perspective of Historical Prediction Look at Western Contemporary Music

作　　者：徐志博[1] XU Zhibo

机构地区：[1]上海师范大学音乐学院,上海200234

出　　处：《黄钟（武汉音乐学院学报）》2020年第4期99-106,163,共9页Huangzhong:Journal of Wuhan Conservatory of Music

基　　金：2018年度国家社科基金艺术学一般项目“声音新媒介背景下的中国当代音乐研究”(项目批准号:18BD066)的阶段性成果。

摘　　要：“声音房”(sound-house)是由西方启蒙运动先驱、英国哲学家培根所描绘的关于未来声音世界的乌托邦幻想。这一深受技术理性思想影响的历史预言在20世纪西方现代音乐发展进程中成为现实。在音乐形式和观念上主要表现为:微分音与和声“异化”,“新声音”与技术化多维声音控制,声音模拟、表现与“声音主义”。西方音乐自文艺复兴以来的现代化进程总体上印证了西方启蒙运动崇尚“理性”“自由”的价值取向,并在20世纪达到了技术理性和多样性的巅峰。将西方现代音乐置于比较的历史语境下,有助于认清其作为音乐发展必然阶段和又一次历史转型期的身份。Sound-house is a Utopian fantasy about the sonic world in the future described by British philosopher Francis Bacon,a pioneer of the Age of Enlightenment.This historical prophecy,deeply influenced by technological rationality,has been achieved in the development of 20th century contemporary music.In musical forms and concepts,it is mainly manifested as:microtone and harmonic“dissimilation”,“new sound”and multi-dimensional sound manipulation by technology,sound simulation,expressionism and“Sonorism”.The modernization process of western music since the Renaissance has in general verified the value of“rationality”and“freedom”advocated by the Age of Enlightenment and reached the peak of technological rationality and diversity in the 20th century.Placing western contemporary music in a comparative historical context will be beneficialto recognize its identity as an inevitable stage of music development and another historical transition period.

关 键 词：培根 西方现代音乐 启蒙 现代化 声音 

分 类 号：J609[艺术—音乐] J60-02