茵格尔顿现象学音乐美学意向性问题评析

A Commentary on the Intentionality of Ingarden’s Phenomenological Music Aesthetics

罗曼·茵格尔顿作为胡塞尔现象学思想的发展者,创造性地在音乐美学问题研究中使用现象学方法。以胡塞尔意向性理论为核心,通过分析音乐主体的意向性行为对于音乐作品的构建,阐明了音乐作品本质及其存在方式,得出音乐作品是“纯粹意向性对象”这一结论。在对于音乐美学意向性问题的讨论上,茵格尔顿现象学音乐美学超出了实在论现象学的范围,进入了根本的胡塞尔现象学先验反思。

As the developer of Husserl’s phenomenological thought,Roman Ingarden creatively used phenomenological methods in the study of music aesthetics.Taking Husserl’s theory of intentionality as the core,by analyzing the construction of music works by the intentional behavior of music subjects,it is concluded that music works are"purely intentional objects",which clarifies the essence of music works and how they exist.In the discussion of the intentionality of music aesthetics,Ingarden’s phenomenological music aesthetics went beyond the scope of realist phenomenology and entered the fundamental transcendental reflection of Husserl’s phenomenology.