作曲家音乐创作中的社会性问题探讨

A Probe into the Social Problems in the Process of Composers' Musical Creation

关于音乐范畴中的社会性问题,教科书和不少的著作中都有论及。但在现实的音乐创作中,仍有不少问题困惑着作曲家。当然,关于作曲家音乐创作中的社会性诸多问题的把握,是来自多方面的,在许多问题上纵然已有定论,但在具体的艺术争论中,尺度和分寸还常常难以把握。

Collective Subconsciousness The conception,creation,appreciation and spread of a musical work is closely connected with the social factors during the process,which,in the eyes of the composer,are component parts of a specific period of time and of a specific group of people. No matter what the personality of the composer is like,he or she is definitely subject to his or her living environment. Just as French art critic Hippolyte Taine said in his book The Philosophy of Art,″as an artist is not an isolated person,we can only hear the artist's sound after centuries,but beneath the great sound that reaches our ears,we can still identify the complex and endless songs of the mass,something like a cluster of humming surrounding the artist in unison. It is because of this cluster of harmony that the artist can become a great one.″ Likewise,the Swiss psychiatrist Carl Jung,who emphasized the social psychological studies,put forward the concept of ″collective subconsciousness″ (or ″collective unconsciousness″). He regarded the archetypal im-ages of the collective subconsciousness as ″ precipitation of several thousand years' fighting and experience of adapting in which every kind of significant life experience and every conflict of profound significance would recall the precious deposit accumulated by the images.″ Such collective subconsciousness is experienced,and is an indispensable junction for both the composer and the spectator (or recipient) during the process of completion and communication of a musical work. ″Collective″ means that the experience is shared in common,and it also means that it embodies ″collective interest″. Meanwhile,this collective group is bound by public interests and general principles of human beings. Aesthetical Experience Quite a number of young composers complain that the audience cannot understand their works and therefore leave them eventually in oblivion. This issue should be dealt with from the perspective of understanding. We all know that music is used for the purpose of exchanging ideas. This requires us to have a common understanding,which should be based on our general knowledge of nature,society,science and culture,good understanding of the matters within a certain community,and,to some extent,the identification of morality,values and world outlook. Here,the composer and the specta-tor share the same common basis,i.e. the composer's examination of the expressive elements in his works comes from the shared experience of the people,a complex combination of tradition and modernity,which can be the subconsicousness within a certain region or a certain community,rather than his own fantasy out of nowhere. Although the styles and schools of composers vary from each other,most of them represent the divergence in terms of artistic concepts and artistic measures. Whether it is a work created by an elite musician or a composition by the public,music compositions from different regions and different countries have much in common from the perspectives of their profound,humanistic and eternal subject matters. Technical Experience Concerning the topic of the spectator's understanding,what we cannot neglect is the technical experience. The technical experience of composing is such that should be overall and entire. When the composer reaches the high level of composing techniques,he or she will be able to create music freely and at his or her own will. Therefore,with whatever techniques or styles,a musical work should express the rich information from the composer even though it is symbolic or metaphorical. Only when the composer has the thoughts that conform to the common progress of the entire humanity,the overall conception to deal with the musical work and the fresh and precise ″new music″ language,can his music composition become a reasonable success.