阿多诺与《中国音乐》——背景、内容及观点  

Adorno and Chinese Music——Background,Content,and Perspectives

作　　者：彭蓓 Peng Bei

机构地区：[1]北京师范大学全球化与文化发展战略研究中心

出　　处：《中国音乐》2024年第6期39-46,85,共9页Chinese Music

基　　金：广东省哲学社会学科一般项目“20世纪上半叶德国法兰克福文化圈对中国传统音乐的研究与接纳——以卫礼贤与阿多诺为例”(项目编号:GD21CYS13)的阶段成果。

摘　　要：德国著名汉学家卫礼贤在1927年编撰了《中国音乐》一书,它至今仍是德奥音乐学界研究中国音乐的重要论著之一。德国著名批判理论哲学家及音乐哲学家西奥多·W.阿多诺在1930年曾经为此书撰写了一篇书评。这篇书评不仅记录了阿多诺早期音乐美学思想的一些核心思想,而且是中国音乐在西方接纳史上的一份具有相当学术价值的文献,是一份在国内外学术界都尚未被讨论过的珍贵文本。本文通过深入剖析阿多诺书评的背景、内容及其核心观点,来揭示20世纪上半叶以阿多诺为代表的德国法兰克福地区文化和音乐界对于中国音乐的理解与接纳情况,以及中国音乐对阿多诺早期美学理论形成的影响。此外,还附有这篇书评的全译文以及注释,借此填补阿多诺音乐哲学体系中关于中国音乐研究的文献空白。The book Chinese Music,edited by renowned German sinologist and translator Richard Wilhelm in 1927,remains a key text in German and Austrian musicological discourse on Chinese music.In 1930,Theodor W.Adorno,one of the most influential figures in Critical Theory and 20th-century music philosophy,published a review of this book.Adorno's review not only encapsulates some of the foundational ideas in his early music aesthetics but also serves as a significant document in the history of Western perceptions of Chinese music.Despite its importance,this review has received little scholarly attention,both domestically and internationally.Through an analysis of the background,content,and key themes of Adorno's review,this paper sheds light on how Chinese music was understood and received by Frankfurt's cultural and musical circles in the early 20th century.Moreover,it highlights the influence of Chinese music on the development of Adorno's early aesthetic theories.The paper includes a full translation of Adorno's review,along with annotations,to address the gap in existing scholarship regarding Chinese music in Adorno's philosophical framework.

关 键 词：阿多诺 《中国音乐》 卫礼贤 中国学社 中西方音乐比较 

分 类 号：J601[艺术—音乐]