音乐美学边缘化危机的自我觉解及其对策

The Crisis of Marginalization in Musical Aesthetics and Its Solution

音乐美学学科特征的稳固,在于其研究对象的相对确定性及其自我完善性,其采用的研究理论与方法均应有助于学科体系建构的丰富性和完整性,而不是泛化学科边界,消解学科独立之精神。音乐美学研究中的形而上思辨与形而下实证的两极牵引,一头走向哲学,另一头则走向心理学和社会学,造成音乐美学自身特性的逐渐减弱之趋势,致使音乐美学学科发展面临边缘化危机。化解这一危机的对策在于厘清音乐美学学科基本问题,关注音乐感性样式的多元化特质及其理性表达,请音乐美学回到感性学,回到音乐美学学科之原点。

The stability of the disciplinary features of musical aesthetics lies in the relative certainty and self-improvement of its study object. Its methodology should contribute to the richness and integrity of the construction of its disciplinary system, not generalize its disciplinary boundary or dispel its disciplinary independence. Drawn between metaphysical speculation and empirical study, musical aesthetics goes to philosophy in one direction, and psychology and sociology in the other, thus begin to lose its own distinctive features and face the crisis of marginalization in its disciplinary development. The strategy of resolving the crisis is to clarify basic questions in this discipline, to pay attention to the diversity and rational expression of music＇s perceptual form, and to make musical aesthetics return to its disciplinary origin.