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朗格的音乐美学思想是卡西勒尔符号象征论在音乐领域的深化和发展。她的学说适应20世纪音乐美学发展的新潮流——挣脱了“自律”抑或“他律”的枷锁,避免在无法说清的问题上纠缠不休;同时,还有效地调和了两种极端思想的矛盾。她的观点无论对于音乐的情感论者还是形式论者,在某种程度上都是可以接受的。在研究方法上,朗格将现代心理学的研究成果运用到音乐美学中,一改原来以单纯哲学思辨为主的情况,而是将二者有机结合。这种自下而上的研究方法,代表着20世纪音乐美学领域的新趋势。朗格这种博采众长、为己所用的论证方式和借鉴现代心理学成果又面向具体音乐实践的研究方法,对后来人无疑有重要的方法论启示作用,对伦纳德.迈尔(Leonard.B.Meyer)等人的学说影响深远。
Lange’s musical aesthetics is the deepening and development of the symbolic theory of Cashel in the field of music. Her theory adapts to the new trend of development of music aesthetics in the 20th century - getting rid of the shackles of “self-discipline” or “other-law”, avoiding entanglement on inexplicable issues; at the same time, it effectively reconciles the two extremes contradiction. Her views are somewhat acceptable to both emotional and formalists of music. In the research methods, Lange applied the research results of modern psychology to music aesthetics, changing the original situation of pure philosophical speculation, but combining the two organically. This bottom-up approach represents a new trend in the field of music aesthetics in the 20th century. This kind of method of argumentation, the method of argumentation used by Lange himself, and his experience of using modern psychology as well as the concrete method of music practice undoubtedly have an important methodological enlightenment on Leonard. Meyer) and others have far-reaching implications.