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--感谢华东师大艺术系硕士研究生徐进提供并整理该文资料－洪啸音乐教育工作站--
学位授予单位 上海音乐学院
中文关键词 勋柏格;音乐思想;音乐历史观;音乐创作观;民族主义音乐观;音乐教育观;音乐批评观;音乐美学观念;艺术观念
导师 杨燕迪
论文级别 硕士
学科专业名称 西方音乐史
中文摘要 阿诺尔德·勋柏格不仅是一位二十世纪的重要作曲家，而且也留下了大量文字著述。本文通过对勋伯格各类论文、书信、演讲、专著等文稿的评述，分别探讨了作为音乐思想家的勋柏格的音乐历史观、民族主义音乐观、音乐教育观、音乐批评观与音乐刨作观，并在此基础上总结了折射在勋柏格音乐思想中的几个重要观点：一，勋柏格对于音乐历史的认识：通过德奥音乐界前辈给予他的创作启示，以及勋伯格对自己几个创作阶段的发展历程的总结，阐述了他对于艺术中的传统与革新之间的关系的辩证认识，并通过这些问题总结出音乐的演进与黑格尔倡导的“历史发展必然性”哲学观念之间存在着必然联系；二，勋柏格的民族主义音乐观：通过勋柏格对于形成民族艺术特征的根本原因、民族艺术中的支配现象、民间音乐与艺术音乐之间的比较、音乐刨作中的“民族性”问题的意识等方面问题的剖析与认识，总结了他的“重艺术音乐，轻民间音乐”、“重西欧音乐，轻非西欧音乐”的观点，从而突出了他的精神领域中的根深蒂固的“德奥音乐中心论”，这是一个浸润着浓厚的西欧文化中心论色彩的观点，也是贯串他毕生的音乐思想的重要观点之一；三，勋柏格对音乐教育问题的见解：勋柏格认为作曲教师应该教会学生掌握“艺术的工具”、在教学中努力做到“一专多能”、注重个性培养；四，勋柏格对当代音乐批评家与音乐批评方法提出的要求：音乐批评家必须具备作为一名音乐家的专业修养，要以真实、客观的态度对待音乐批评这门神圣的职业，充分运用内心的艺术联想向公众再现作曲家的意图，而不是将个人见解强加于受众；同时，批评家需要对艺术的过去与未来拥有全面的了解与较准确的预测，在音乐批评的具体范畴中，应将重心角度置于探讨音乐作品的风格与思想之间的关系方面。五，勋柏格的音乐创作观：在勋柏格的创作理念中，深刻体现出他的表现主义艺术观与音乐作品的“有机统一论”意识，前者强调内在精神需要与外在世界的谐调、统一，而后者强调严密的艺术创作逻辑和有机的结构力，因此事实上这两个方面形成了一种相辅相成的关系，你中有我，我中有你，并且涵盖了他对于“基本型”、音乐的“可理解性”等问题的独到见解。也许，勋柏格的音乐思想中存在着一些自相矛盾之处：他的某些艺术观念也有失偏颇，不够完善，尚未形成体系。但是，这并不影响我们循着勋柏格的思想轨迹去理解、认识、挖掘他的丰厚的精神成果，去更深入地探寻德奥音乐文化传统留给后人的宝贵遗产。
英文摘要 Schoenberg is not only an important composer in 20th century, but also left plenty of writings, including papers, letters, and speeches. The thesis probes into Schoenberg' thinkings about music history, music nationalism, music education, music criticism, and music creation, respectively. There are some important viewpoints in Schoenberg's music thought: Firstly, Schoenberg's ideas of music history, he believes relationship of tradition and revolution in art is dialectical in nature, and argues that evolution in music was determined by natural law, obviously influenced by Hegel's philosophical history idea. Secondly, the thesis sums up his viewpoints of music nationalism, such as "lay stress on art music, look down on folk music", "lay stress on western European music, look down on non- western European music" by Schoenberg's account about the reasons of the formation of national art, the dominant of national art and nationality in music; in fact, this viewpoint of western cultural centricity is one of his i mportant viewpoints throughout his life; Thirdly, Schoenberg's concept of music education: in his thought a composing teacher should teach the students how to master "the tool of art" , train them for their ability of "one major and various kinds of techniques", try his best to nourish the student's personality; Fourthly, Schoenberg set forth some opinions about modern music critics and the method of music criticism: a music critic must be equipped with the quality of a music expert, and render composer's idea to the public by his art imagination, but not his personal opinion,and Schoenberg stress the areas of music criticism on style and idea ; Lastly, Schoenberg's concept of music creation: Expressionism and organism are two important issues in Schoenberg's thinking about music creation. The former stresses on the unity of external world and internal spirital necessity, the latter imposes on logical and structure in individual composition. And he expounded his viewpoints by the examples of "basic shape" an d "comprehensibility" in music. Perhaps there is something self-contradictory in Schoenberg's music thought; in a certain sense his aesthetic thoughts are partially formulated, and his art concepts hasn't become a complete system. But we can understand, realize, and further his abundant spirit fruits, and explore precious heritages from German and Austrian music cultural tradition in his music thoughts.
DOI CNKI::CDMD:10278.2.2004.9567 |
