论赵宋光的音乐美学思想及其理论贡献

ZHAO Song - guang's Thinking of Music Aesthetics & His Contributions to the Theory

本文论述赵宋光为中国音乐美学学科的建立与发展所做出的贡献及体现出来的音乐美学思想。一,他切中五六十年代我国交响音乐创作中追求外在描写及试图直接表现戏剧真实情节的时弊所进行的批评,充分体现出他美学上的超前思想。二,他唯物地分析了音响手段的特殊性,长处与短处,试图克服自然科学唯物主义的直观性,把自己的美学观建立在经过历史积淀的实践唯物主义的基础上,把实践本体的情感性作为音乐反映生活的重要途径来加以确证;他第一次创造性地使用了与审美概念相对应的“立美”概念。三,他认为:音乐美学的哲学基础应是人类本质分化出来的认识论、驾驭论、价值论三个领域的连接;关于音乐存在方式,他认为:在考察音乐作为人类审美意识对象化活动时,可区分其存在方式的若干程段,从而描述这存在的流程的整体;作为一个人类学的事实,次流程是一种“主体-对象-主体”循环的流程。赵宋光先生音乐美学研究中所包蕴的丰富深刻的音乐美学思想,可以同中国古代、近现代以往的音乐美学思想相匹敌;在成就、贡献和价值上,足以成为一种音乐美学思想的代表。

This is an article about Zhao Song- guang's thinking of musical aesthetics and his contribution to establishment and development of the subject of musical aesthetics in China. The author expounds Mr. Zhao Song - guang's rich and profound thinking of musical aesthetics in liis research from third respects. He believes that Zao Song - guang' s thinking of musical aesthetics is equal to others from ancient times to the present times. Furthermore, the author points out that Zao Song- guang's accomplishments and contributions have become a theoretical height and a representation of musical aesthetic thinking.