崇高之美的音乐呈现——以作为革命文艺的音乐作品为例  

Musical Presentation of Sublime Beauty:Taking the Musical Works as Revolutionary Literature and Art as An Example

作　　者：李诗原 Li Shiyuan

机构地区：[1]上海音乐学院贺绿汀中国音乐高等研究院

出　　处：《中国文艺评论》2025年第3期32-39,I0001,I0002,共10页China Literature and Art Criticism

基　　金：2021年度国家社科基金重大项目“中国共产党革命音乐百年发展史研究”(项目批准号:21&ZD035)的阶段性成果。

摘　　要：“崇高”作为一个美学范畴,其古今中西的意义既有不同,又不无相近,存在“视界融合”。在这种“视界融合”中,中国音乐作品中的“崇高”,作为一种审美意象,更多呈现为理性的道德力量与异己力量的抗衡,一种从“痛感”而来的“快感”,即超越苦难的浪漫情怀、超越小我的价值认同、超越死亡的悲剧精神,并最终在革命文艺语境中成为一个与革命浪漫主义、英雄主义和牺牲奉献精神密切相关的美学范畴。于是,“崇高之美”就呈现为一种超然的气度,一种高尚的品格,一种崇高的气节。As an aesthetic category,the“sublime”has different but similar meanings in ancient and contemporary China and the West,and there is a“fusion of horizons”.In this“fusion of horizons”,the“sublime”in Chinese musical works,as an aesthetic imagery,is more often presented as a counterbalance between the moral force of reason and the force of dissent,a kind of“pleasure”coming from“pain”,that is,a romantic sentiment that transcends suffering,a value identity that transcends the ego,a tragic spirit that transcends death,and ultimately in the context of revolutionary literature and art becomes an aesthetic category closely related to revolutionary romanticism, heroism and the spirit of sacrifice and dedication. As a result, the “sublime beauty” is presented as a kind of transcendent temperament, a noble character, and a sublime temperament.

关 键 词：崇高之美 革命文艺 中国音乐 视界融合 

分 类 号：I20[文学—中国文学]