中期的整合与晚期的突破--论阿多诺的贝多芬音乐美学

Middle Integration and Late Breakthrough--On Adorno’s Music Aesthetics of Beethoven

阿多诺将贝多芬中期风格音乐视为一种调性体系下的整体存在,并指出这种整体是主体运用同一原则构成的。于是,他将晚期风格的突变看作是对中期风格的突破与批判,并赋予了一套强有力的理论依据。但是,如果从音乐本体的角度来看,阿多诺赋予晚期风格的理论建构就变得有一些不合理,这种不合理就集中体现为对调性体系的解构并不能真正实现。但是无论如何,晚期风格的突变都是贝多芬对中期风格整体的自我反思、对传统形式的自我革新,其真正的意义不在于是否实现,而在于敢于实现。

Adorno regarded Beethoven’s middle style music as a whole existence under a tonal system,and pointed out that this whole is composed by the subject using the same principle.Therefore,he regarded the sudden change of the late style as the breakthrough and criticism of the middle style,and endowed it with a strong theoretical basis.However,from the perspective of music ontology,adorno’s theoretical construction of late style becomes unreasona⁃ble,which is embodied in the deconstruction of tonality system,which cannot be truly realized.But in any case,the abrupt change of the late style is Beethoven’s self-reflection on the middle style as a whole and his self-innovation on the traditional form,whose real meaning is not whether to achieve,but to dare to achieve.