缪天瑞音乐美学思想的形成及其贡献探撷  

Exploration of the Formation and Contribution of Miao Tianrui's Aesthetic Thought on Music

作　　者：汪洋 Wang Yang

机构地区：[1]浙江音乐学院,浙江杭州310024

出　　处：《南京艺术学院学报（音乐与表演版）》2023年第2期97-102,I0003,共7页Journal of Nanjing Arts Institute:Music & Performance

基　　金：2021年度国家社科基金艺术学一般项目“缪天瑞与百年中国音乐史研究”(项目编号:21BD068)的阶段性成果。

摘　　要：缪天瑞作为近代中国音乐美学转型过程中一位重要的代表人物,始终以积极主动的态度拥抱和吸收西方的音乐美学思想。其有关音乐美学的16篇文论、译著不仅敏锐把握了西方音乐美学观点的发展脉络;而且不断呈现和完善自我的音乐美学思想:以音乐本体作为音乐美学思考的出发点,用心理学的音乐美学调和形式音乐美学与内容音乐美学的分歧;同时也确立了他作为中国音乐美学学科奠基人之一的历史地位。As an important representative figure in the transformation process of modern Chinese music aesthetics,Miao Tianrui had always embraced and absorbed Western music aesthetics ideas with a proactive attitude.His 16 articles and translated works on music aesthetics not only keenly grasp the development of Western music aesthetics,but also continuously present and improve his own music aesthetics ideas.They use music ontology as the starting point for music aesthetics thinking and use psychological music aesthetics to reconcile the differences between formal music aesthetics and content music aesthetics.At the same time,they also established his historical position as one of the founders of the Chinese music aesthetics discipline.

关 键 词：缪天瑞 音乐美学思想 足迹 奠基人 历史地位 

分 类 号：J603[艺术—音乐] J601