阿多诺音乐分析的哲学基础——从《新音乐的哲学》对《启蒙辩证法》的补充切入

On the Philosophical Basis of Adorno’s Music Analysis: Philosophy of New Music as a Supplement to Dialectic of Enlightenment

阿多诺其人一生都在音乐和哲学之间徘徊往返,这不仅体现在其思想逻辑里,更显现在其著作中,然而相较于阿多诺的哲学思想研究,对其音乐理论研究却是少数。从《启蒙辩证法》的文本入手,深入挖掘“启蒙”的内涵,明确“启蒙辩证法”自身的逻辑线条以及其中的启蒙精神与批判逻辑在《新音乐的哲学》中的自觉贯彻,有助于从整体上把握阿多诺的哲学、美学和音乐思想。

As a "philosopher who is proficient in music and a musician who is proficient in philosophy", Adorno has been immersed in music and philosophy throughout his life. This is not only reflected in his intellectual logic, but also in his writings. Compared with the research on Adorno’s philosophy, the study of his music theory has always been a minority. Therefore, this paper, by deeply exploring the connotation of "Enlightenment" in the text of Dialectic of Enlightenment, aims to clarify the logical lines of "enlightenment dialectics", and understand the conscious implementation of the "enlightenment spirit" and critical logic in Philosophy of New Music, which is helpful to grasp Adorno’s philosophy, aesthetics and musical thoughts as a whole.