黑格尔的音乐主体性思想解析  

Hegel’s Ideas on Musical Subjectivity

作　　者：徐晓庚[1] 徐文惠 曾庆琦 XU Xiao-geng;XU Wen-hui;ZENG Qing-qi(School of Fine Arts,Central China Normal University,Wuhan 430079,Hubei,China;School of Chinese Language and Literature,Central China Normal University,Wuhan 430079,Hubei,China)

机构地区：[1]华中师范大学美术学院,武汉430079 [2]华中师范大学文学院,武汉430079

出　　处：《武汉理工大学学报（社会科学版）》2024年第5期1-9,共9页Journal of Wuhan University of Technology:Social Sciences Edition

摘　　要：主体性是美学的重要命题之一,国内外相关的研究成果丰厚。德国古典美学家康德、黑格尔、马克思的主体性思想影响深远。黑格尔在其专著《美学》中论述浪漫型艺术时阐释了音乐主体性,体现了他的音乐主体性思想及音乐美学的指导原则。国内学界的既有研究对黑格尔美学中的音乐思想探讨较少,对黑格尔美学中的音乐主体性更是鲜有涉及。黑格尔主体性思想承接和发展了康德、费希特和马克思等人的主体性思想,即审美听觉这一感受音乐美能力的丰富,也就是说能感受音乐美的耳朵是人类审美能力的发展。黑格尔通过阐述音乐主体性的内容和表现及其研究的意义,解释了音乐美表现在音乐的音量、内容和时间三个方面,这样音乐完成了由单纯的声音之美感到作品的社会意涵之传达,音乐彻底地抛弃艺术的物质形式,扬弃了物质材料的空间性,从而转向主体的自由性,转向“时间连绵”,形成时间意象,给人以川流不息的审美效果,音乐就真正成为“自由的艺术”或“游戏的艺术”,这是心灵的境界,亦是美的所在。这就是黑格尔音乐主体性形成与发展的价值与意义所在。Subjectivity has been a significant theme of aesthetics with plentiful accomplishments in relative research.The German eminent classical philosophers like Kant,Hegel and Marx had exerted tremendous impact on the study of subjectivity.The musical subjectivity belonging to Romantic art in aesthetics,as Hegel had interpreted,is the thoughts of his music subjectivity,moreover,his principal guide on music aesthetics.Scholars had paid little attention to his musical thoughts,furthermore,the musical subjectivity of Hegelian aesthetics.This paper aims to study the importance of such study included the source of Hegelian subjectivity,the content and expressive meaning of musical subjectivity.By discussing the formation and development of Hegelian musical subjectivity,this paper has expounded the value and meaning of this proposition,deepened the study of Hegelian musical aesthetics,and enriched the research on Hegelian aesthetics.

关 键 词：黑格尔 美学 音乐主体性 

分 类 号：B516.35[哲学宗教—外国哲学] J601[艺术—音乐]