西方音乐美学史与中国问题意识——“西方音乐美学史”教学随想

History of Western Music Aesthetics and Problem Consciousness of Chinese——Thoughts on "History of Western Music Aesthetics" Teaching

对于中国现代的学者来说,研究西方的学问其落脚点不仅仅在于获得关于西方音乐美学史的知识,而是在于如何认识以及重构中华民族的当代学术范式与文化价值体系。其次,研究西方音乐美学史亦是为了提供一种言说音乐的话语体系,即每一历史时期的人们怎样在言说音乐,他们是在一个什么样的条件下如此的言说音乐。不仅要在西方的历史-文化Context中认识其关于音乐的言说,还要在与中国的文化相遭遇所构成的Context中再认识它。用中国古代的美学概念来阐释西方的艺术现象,往往可以在相反相成的意义上来沟通彼此。引动西方音乐美学发展中异于中国历史的东西,是笔者编撰《西方音乐美学史教程》的关注焦点和教学要点。

To modem Chinese scholars, Western learning is not only the acquirement of Western music aesthetic knowledge, but the cognition and re-construction of the contemporary academic paradigms and cultural value system of the Chinese nationality. Secondly, studying history of Western music aesthetics is to provide a discourse for the talks in music, which means how people of every historical period speak of music, and under what circumstance they discuss music in a way they do. Not only to learn about musical speech in the western historical-cultural context, but also to re-study it in the context of its interaction with the Chinese culture. By interpreting the western art phenomenon with Chinese ancient aesthetic concept, communication can be reached with the opposition and correspondence. It is the differenti- ation between the western music aesthetics development and Chinese history that become the focus of attention and teaching keys of the writing of ＂A Course of History of Western Musical Aesthetics＂.