音乐诠释学的历史溯源与当代走向

Historical Origins and Contemporary Trends in Music Hermeneutics

本文从音乐诠释学的哲学背景及其初期发展脉络中提炼关键概念,并以此为线索,明确音乐诠释学的定位,即这是一门旨在以各种身份、姿态、视角、方法介入对音乐意义的解读,积极将隐藏于音乐形式语言之下的意义转换至人类的经验世界,在无数次解读中呈现作品意义的学科。在历史与当下、作者与读者、形式与内容三对概念及其衍生问题的基础上,把握音乐诠释学发展史上的诸多流派特征,并尝试梳理当代音乐诠释学的发展路径。在中国,得益于钱仁康和于润洋奠定的学术传统,使得诠释学对音乐分析产生了深远影响,不断催生出新的研究思路和写作模式。

This article extracts key concepts from the philosophical background and early development trajectory of music hermeneutics.Using these concepts as a guide,it defines the position of music hermeneutics:a discipline aiming to intervene in the interpretation of musical meaning from various identities,postures,perspectives,and methods.Its goal is to actively translate the significance underlying the formal language of music to the human experiential world,presenting the meaning of compositions through countless interpretations.Based on the pairs of concepts—past and present,author and reader,form and content—and their derived issues,we grasp the characteristics of various schools in the history of music hermeneutics development and attempt to clarify the development path of contemporary music hermeneutics.In China,thanks to the academic traditions laid down by Qian Renkang and Yu Runyang,hermeneutics has profoundly influenced music analysis,continuously inspiring new research directions and writing modes.