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1784年,德国著名诗人、作曲家和音乐学者舒巴特在其《论音乐美学思想》(1806年出版)中,首次将音乐和美学这两个毫无关联的术语结合在一起使用,从而宣告了“音乐美学”的诞生。“音乐美学”自开始产生至发展到现在,一路走过来伴随着许多争论和疑惑,现如今,音乐美学的发展越来越不能满足人们对音乐的欣赏和追求,同时更是受到新兴的哲学美学狂潮的冲击,而面临着知识改革、系统更新的困境,由此引发了音乐美学的边缘危机,产生了音乐美学非主流化的趋势。本文以音乐美学的源流概析为出发点,通过分析音乐美学的基本概况,如内涵、发展历程和存在问题等,力图找出音乐美学非主流化的原因,为如何更好的遏制音乐美学非主流化提出合理化建议,为音乐美学的进一步发展与创新略尽自己的绵薄之力。
In 1784, Schubert, a famous German poet, composer and musicologist, for the first time in his On the Theory of Music Aesthetics (published in 1806), used the two unrelated terms of music and aesthetics together to proclaim “Music Aesthetics ” was born. “Music Aesthetics ” From the beginning to the present, all the way to come along with many controversies and puzzles. Nowadays, the development of music aesthetics can not meet people’s appreciation and pursuit of music more and more, Philosophical aura of frenzy, facing the predicament of knowledge reform and system renewal, which leads to the marginal crisis of music aesthetics and the non-mainstream trend of music aesthetics. Based on the analysis of the origin of music aesthetics, this article attempts to find out the reasons of non-mainstream music aesthetics by analyzing the basic general situation of music aesthetics such as connotation, development history and existing problems, Put forward reasonable suggestions, and make a slight contribution to the further development and innovation of music aesthetics.