“进步的未来”——19世纪新德意志乐派的历史哲学

"The Future of Progress":The Historical Philosophy of the New German School in the 19th Century

从瓦格纳到布列兹,自诩为先锋派的作曲家,或多或少都是以“进步主义”的方式思考音乐。而了解进步哲学的起点,新德意志乐派无疑是必不可少的参照。文章以音乐中的“进步”为背景问题,以19世纪新德意志乐派为研究对象,从历史、美学与形式三个层面,探讨他们是如何以“进步观”为核心的历史哲学与美学来为“先锋”构建历史合法性。从达尔豪斯到塔拉斯金,新德意志乐派与20世纪音乐的精神承继关系屡被提及。文章试图找到这种关系的具体体现:新德意志乐派的历史-美学观念究竟与现代音乐有怎样的联系 19世纪的“未来”与真实发生的“未来”有哪些值得注意的映照?新德意志乐派的思想可被视为西方现代音乐观念的前史,也埋下了其后现代音乐的致命问题线索。理清这一联系,是笔者最为关心的议题所在。

Composers from Wagner to Boulez who claim to be the avantgarde think about music in a more or less‘progressive’way,and the New German School is undoubtedly an indispensable reference to understand the starting point of such progressive philosophy.By taking‘progress’in music as the background issue and concentrating on the New German School in the 19th century as the research object,this article explores how they constructed historical legitimacy for‘avantgarde’with the progressivim as the core of historical philosophy and aesthetics from the perspectives of history,aesthetics and form.From Dalhaus to Taraskin,the spiritual inheritance relationship between the New German School and 20th century music has been mentioned repeatedly.This article attempts to find the specific manifestation of this relationship:What is the connection between the historicalaesthetic concepts of the New German School and modern music?What are the noteworthy reflections between the‘future’of the 19th century and the actual future that is happening?The thought of the New German School could be regarded as the prehistory of the concept of modern Western music,and also laid the clues to the fatal problems of its postmodern music.Clarifying this connection is the topic that the ariticle is mostly concerned about.