社会批判视域下的新音乐分析——阿多诺音乐美学思想浅谈

New Music Analysis from the Perspective of Social Criticism:On Research of Adorno’s Music Aesthetics

阿多诺所谓的"新音乐"界限非常明确,是指在瓦格纳之后的、以德彪西为起点的音乐形式,比如印象主义、表现主义以及新古典主义音乐。在阿多诺看来,新音乐形式的典型特征是突破传统音乐的限制:无调性扬弃了调性、七声音列走向了十二音系列、不协和音不必转到协和音上面等等,这种音乐思维集中体现了阿多诺思想体系中对于当时的既有社会文化的"反叛",这样的社会批判维度是需要重点关注的。本文旨在从阿多诺的哲学思想出发,通过对阿多诺音乐分析的范本《新音乐的哲学》(1949年)、《音乐社会学导论》(1962年)、《贝多芬:阿多诺的音乐哲学》(1993年)等文本进行梳理、归纳与评骘,以期观照阿多诺思想中披着"音乐"的外衣是如何进行社会层面的考察,以及这种基于社会批判视域下的音乐分析具有怎样的价值和意义。

Adorno’s definition of"New Music"has very clear boundaries,referring to the musical forms that followed Wagner and began with Debussy,such as impressionism,expressionism and neoclassical music.In Adorno’s view,the typical features of the new musical form are the breakthrough of the traditional musical limitations:atonal abandonment of tonality,seven-tone series moving to twelve-tone series,discordant tones needn’t be transferred to concordant tones and so on.This kind of musical thinking embodies the"rebellion"of Adorno’s thought towards the social culture at that time.Such dimensions of social criticism need to be focused on.Starting from Adorno’s philosophical thoughts,this paper aims to sort out,summarize and comment on Adorno’s music analysis texts,Philosophy of New Music(1949),Introduction to Musical Sociology(1962),Beethoven:Adorno’s Musical Philosophy(1993)and so on,in order to understand Adorno’s thinking on music analysis In these books.We shall then be able to think about the value and significance of music analysis from the perspective of social criticism.