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卢梭的启蒙思想向来充满复杂性,而如何真正建立并维系个体之间的统一性关联无疑是其核心问题之一。他质疑理性的普遍性,试图从情感的根源重新探寻答案。由此他基于“公意”概念对种种政治和艺术的表象方式进行了批判,并从历史演变的角度将音乐作为真正解放性的艺术形态。但他对音乐的局限性的界定、对旋律的至上性的强调使他既无法真正说明纯音乐形式,亦无法真正理解音乐发展演化的内在动力机制。对音乐的另外两个基本要素(和声和节奏)的探讨将启示另外的可能性,并进而揭示启蒙理想与音乐理想之间的相互契合。
Rousseau’s enlightenment has always been full of complexity, and how to truly establish and maintain the unity between individuals is undoubtedly one of the core issues. He questioned the universality of reason and tried to re-explore the answer from the root of emotion. In this way, he criticized the appearances of all kinds of politics and art based on the concept of “public opinion ” and regarded music as a truly liberating art form from the perspective of historical evolution. However, his definition of the limitations of music and the emphasis on the supremacy of melody made it impossible for him to truly explain the purely musical form and to truly understand the intrinsic motivation mechanism of the development and evolution of music. The exploration of two other fundamental elements of music (harmonies and rhythms) will reveal additional possibilities and thereby reveal the mutual conformity of enlightenment ideals and musical ideals.