总体性音乐批判——再论阿多诺的贝多芬音乐哲学  

The Music Criticism of Totality——Further Study on Adorno's Interpretation of Beethoven's of Music Philosophy

作　　者：李子豪 Li Zihao(Hebei University,Baoding 071000)

机构地区：[1]河北大学,保定071000

出　　处：《新疆艺术学院学报》2023年第4期15-23,共9页Journal of Xinjiang Arts University

基　　金：河北省博士研究生创新资助项目“阿多诺音乐批评理论研究”(项目编号:CXZZBS2022005)研究成果。

摘　　要：阿多诺关于贝多芬音乐哲学的阐释结合了音乐分析方法,为理论生成奠定了形式基础。他推崇贝多芬晚期风格的消极主体、有机形式,批判中期风格的中介主体、形式整体。但批判又不完全彻底,理论立场与社会学评价的分歧造成了阿多诺对中期风格批评的两副面孔。晚期风格的解构不仅局限于音乐本身,同时包含形式整体及其他所代表的总体性社会关系,从而串联起勋伯格十二音音乐的社会批判导向。从贝多芬中期风格到晚期风格再到勋伯格,阿多诺建立起非同一性批判的作曲家星丛。Adorno's interpretation of Beethoven's music philosophy combines the methods of music analysis,laying a formal foundation for the generation of his theory.He praised the negative subject and organic form showed in Beethoven's late style,and criticized the intermediary subject and formal wholeness showed in his middle style.However,his criticism was not completely thorough.The divergence between Adorno's theoretical stance and sociological evaluation resulted in his two faces in his criticism of Beethoven's middle style.The deconstruction of his late style is not only limited to the music itself,but also involves the formal wholeness and the totality of social relationships represented by others,thus connecting the social critical orientation of Schoenberg's twelve-tone music.From Beethoven's middle style to his late style and then to Schoenberg's music,Adorno established the konstellation of composers advocating non-identity criticism.

关 键 词：阿多诺 贝多芬 中期风格 晚期风格 总体性 

分 类 号：J614[艺术—音乐]