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对钢琴演奏者来说,具有娴熟的技术性技巧是非常重要 的。然而,如果过分强调技巧而忽视对音乐作品本身内在意义的体验和理解,那么演奏很可能会陷入程式化而缺乏个性和感染力。美籍俄国音乐家拉赫玛尼诺夫曾经说:“一切伟大的作曲家和演奏家都是在那个被他们破坏的程式的废墟上建造新的大厦的,他们的伟大并不在于他们获得技术的空壳,而在于他们的知识和他们对作品内在意义的把握”那么,我们应该知何理解音乐作品的内在意义呢?解释学为我们提供了可行的方法和途径。 解释学是一门关于文本意义的理解活动的理论,是当会西方最有影响的哲学流派之一,其发展经历了两次大的转折,其一是施莱尔马赫(F.Schleimacher)和狄尔泰(W.Dilthey)把作为对《圣经》等宗教经典进行研究的局部解释学转变成能够诠释各种人文科学的普遍解释学,进而发展为人文科学方法论即方法论解释学。其二是海德格尔(M.Hei-degger)和伽达默尔(H.G.Gadamer)把方法论解释学转变为本体论解释学,进而发展为现代哲学解释学。本文试图从这两个方面阐述如何理解音乐作品的内在意义。
Skilled technical skills are very important to the pianist. However, if you overemphasize the skill and ignore the experience and understanding of the intrinsic meaning of the piece, the performance is likely to become stylized and lacking in personality and appeal. American Russian musician Rachmaninoff once said: “All great composers and performers are building new buildings on the ruins of the program that they destroyed, and their greatness lies not in their access to technology But rather their knowledge and their mastery of the intrinsic meaning of the work. ”So how do we understand the intrinsic meaning of musical works? Hermeneutics offers us ways and means of doing things. Hermeneutics is a theory of textual comprehension activities. It is one of the most influential philosophical schools in the West. Its development has undergone two major turning points. One is Schleimacher and Di W. Dilthey turned local hermeneutics, a study of religious scriptures such as the Bible, into universal hermeneutics that can interpret various humanities and then to methodology of humanities, methodological hermeneutics. The other is that M. Hei-degger and H. G. Gadamer turned methodology hermeneutics into ontological hermeneutics and further hermeneutics to modern philosophical hermeneutics. This article tries to explain how to understand the intrinsic meaning of musical works from these two aspects.