历史音乐学场域中的音乐论说

Music discourses In the Field of Historical Musicology

“音乐论说”可以理解为用文字表达的关于音乐现象及问题的审思与见解。“论说”二字既有展开“议论”的特性,也表达呈现“言说”的主体姿态,这种显现个人旨趣的音乐审视和展示论说者智性思绪的音乐文字(writing about music)具有音乐探析和艺术品鉴的“庄重感”和“趣味性”。学术性音乐论说是学术动力驱使下的研究性写作,其目的是为了提出或解决音乐领域内某个专业性问题,并在学术规范的框架内贡献具备问题意识的研究性阐述。对“音乐论说”的论说离不开具体讨论对象所处的学科场域。就历史音乐学场域中的音乐论说而言,构成这一场域的基础是西方艺术音乐创作的历史和以音乐作品为载体的艺术文脉,而让这一场域产生学术活力和论说效力的则是历史音乐学学科传统的传承与发展。

The term"musical discourses"refers to the articulation of reflective thought and perspectives concerning phenomena and quandaries within the realm of music.Such discourse transcends mere debate,embodying a posture of critical commentary.These examinations unveil the personal investment of the analyst,and writings on music expose the intellectual contemplations of the author.They embody the gravity and intrigue inherent in the analysis and appreciation of musical art.Academic musical discourses,motivated by scholarly pursuit,aim to identify or resolve specialized issues within the music domain,contributing to research that is conscious of the challenges within a defined framework of literary norms.In the context of Historical Musicology,the cornerstone of this discipline rests upon the chronicles of Western art music's creation and the artistic lineage discernible through musical compositions.Yet,it is the legacy and progressive evolution of the historical musicological tradition that endows the discipline's discourses with scholarly vigor and relevance.