历史音乐学的“后现代”倾向

Post-Modernist Tendencies in Western Historical Musicology

20世纪下半叶,历史音乐学发生重大转向,传统实证史学衰落,“新音乐学”蓬勃发展。此次转折体现出了鲜明的“后现代”精神:连续性历时叙事转向非连续性的共时诠释,宏观叙事转向微观史;性别研究成为“新音乐学”中最活跃的一股力量,彰显了后现代的平等诉求;“文化”完全改变它在实证史学中的局外角色,借由社会史、文明史、音乐诠释、文化语境、人类学视角成为音乐研究的主角,凸显了后现代的多元与差异。

With the rise of new musicology and the fall of traditional positive historiography in the latter half of the 20th century, an important turning appeared which reflected striking post-modernist spirits: i.e. from consecutive diachronic narrative to non-consecutive synchronic interpretation, from macro-narrative to micro-history;gender studies as the most active force;culture highlighting its postmodernist views on difference with their multiple roles, no longer an outsider as in positive historiography.