音乐欣赏的“欣”与“赏”——基于杜夫海纳审美经验现象学中音乐欣赏主体的角色解析

The “Joy” and “Appreciation” of Music Appreciation——Based on the Analysis of the Role of Music Appreciator in Dufrenne’s Aesthetic Experience Phenomenology

杜夫海纳作为现象学美学代表人物,其代表性美学著作《审美经验现象学》将研究聚焦于欣赏主体与审美对象之间的“意向性”关系,即审美对象只有在欣赏主体的审美知觉中实现完满存在。音乐作为一种表现性艺术,音乐欣赏主体与音乐审美对象之间有着相对特殊的关系,音乐欣赏主体在面向“自在”且“迷人”的音乐审美对象时,肩负着“成全者”“见证者”“创作者”“表演者”等主要的角色使命,并且内化于审美对象对于欣赏主体“智性”与“感性”均衡的内在要求,以诉诸于成全音乐审美对象的完满存在,最终在音乐欣赏中获得一种更有意义的“欣”与“赏”的实践。

Mikel Dufrenne is a representative figure of phenomenological aesthetics,and his representative aesthetic works Phenomenology Of Aesthetic Experience focuses on the“intentionality”relationship between the appreciator and the aesthetic object,which means that the aesthetic object only exists perfectly in the aesthetic perception of the appreciator.Music,as a kind of expressive art,has a relatively special relationship between the music appreciator and the aesthetic object of music.When facing the“self-discipline”and“charming”aesthetic object of music,the music appreciator undertakes the main role missions of“perfectionist”,“witness”,“creator”,and“performer”.The inner demand of aesthetic object for the balance of“intelligence”and“sensibility”of the music appreciator appeals to the perfect existence of the aesthetic object,and finally obtains a more meaningful practice of“joy”and“appreciation”in music appreciation.