论杜夫海纳“现象学还原”在音乐审美经验中的所指  

On the Signified of Phenomenological Reduction of Dufrenne in the Aesthetic Experience of Music

作　　者：单金龙[1] Shan Jinlong

机构地区：[1]武汉音乐学院音乐学系,武汉430060

出　　处：《北方音乐》2024年第2期83-91,共9页Journal of the Northern Music

基　　金：上海音乐学院博士研究生课题《空的空间与虚的时间--将现象学引入音乐创作美学研究的尝试》课题编号SHCMDP202235结项成果。

摘　　要：文章通过杜夫海纳《审美经验现象学》一书中有关主体与对象相互作用的审美知觉理论,即“前主体”“准主体”“感觉者”“原发经验”“历史经验”等审美经验探讨,来说明音乐审美主体的审美意向性,阐述感觉材料在经验里通过怎样的思维形式(审美活动机制)转化为审美意象,探讨“现象学还原”概念下音乐表演文本的存在方式。Based on the discussion of the aesthetic perception theory of the interaction between sub-ject and object in The Phenomenology of Aesthetic Experience by Dufrenne,namely pre-subject,quasi-subject,senseer,primary experience,historical experience and other aesthetic experiences,the article explains the aesthetic intentionality of music aesthetic subject.The author expounds the thinking form(mechanism of aesthetic activity)of sensory materials in experience and how to trans-form them into aesthetic images,and probes into the existence mode of music performance text un-der the concept of phenomenological reduction.

关 键 词：杜夫海纳(Mikel Dufrennne 1910-1995) 现象学 意向性 存在方式 音乐表演文本 

分 类 号：J601[艺术—音乐]