【作者】 陈新坤；

【导师】 韩锺恩；

【作者基本信息】 上海音乐学院 ， 艺术哲学， 2014， 博士

【摘要】 本文主要解决以下问题：以文本为中心的音乐诠释路向是否可行?如果可行应该采用什么样的策略?论文的重点是以文本为中心对音乐作品进行诠释,这一诠释路向的理论资源来自法国哲学家保罗·利柯的文本诠释学。与过去以作曲家原意或接受者主观理解为中心的诠释路向相比,文本本身也是音乐作品诠释的一个重要向度。音乐作品一经乐谱和音响固定就成了文本,文本主要是作为意义而存在的,因此脱离了当时的具体语境,与作曲家、创作时的外部环境、具体指称和原初接受者之间就产生了间距,从而具有某种自主性。以作曲家原意或接受者主观理解为中心的诠释尽管也涉及到音乐作品的文本问题,但主要把文本作为作曲家原意或接受者主观理解的证据和材料,并没有真正按照文本本身所指示的方向进行诠释。因此以文本自身为中心对音乐作品进行诠释无疑是值得尝试的,同时也为音乐作品诠释研究带来新的可能。具体来说,以文本为中心的诠释就是首先把自己交给文本,遵照文本所指示的方向进行读解,并通过对文本的占有而充实和修改自我。文本是一个既定的存在,一方面可以增加诠释的可靠性,另一方面也便于利用一些具体的方法和策略。本文正是遵照音乐作品文本所指示的方向并借助审美和隐喻思维尝试对音乐作品进行诠释。音乐作品诠释无疑就是去发现音乐作品蕴含的意义,因此意义是音乐作品诠释无法绕开的一个问题,本文不是去证明音乐作品有没有意义,而是以音乐作品有意义为前提。本文指出音乐作品的意义总体包括含义和指涉意义两个部分,其中文本的含义又可以分为现象学、语言哲学和语义学三个层面,它们相互关联、彼此依托,隐喻思维则贯穿整个诠释的过程,它是意义得以显现的关键方式。诠释首先在音乐文本的含义层面进行,通过审美、隐喻等方式发掘音乐文本中确实存在的结构性意义部分,并以此为基础通过隐喻思维和解语境之后的再语境进一步洞察具有存在论层次的指涉意义,从而使音乐作品与世界发生关联。本文引言部分主要介绍了研究范畴、目的、意义以及该领域的研究现状和存在问题。文章第一部分主要论述了与本文相关的文本、审美和隐喻三个重要理论问题,为本文的音乐作品诠释研究奠定理论基础；第二部分以舒伯特的器乐作品《b小调未完成交响曲》为对象进行诠释性研究,并论及器乐作品的诠释契机和策略问题；第三部分则对舒伯特的声乐套曲《冬之旅》进行诠释性研究,并论及声乐作品诠释的契机和策略问题；最后一章谈到了诠释的同一性问题,包括作品意义的同一性、不同诠释之间的同一性、诠释的主观性及其限度等。更多还原

【Abstract】 This dissertation is mainly intended to answer the following questions:Is it feasible to interpret musical works centering on text? If so, then what kind of strategy should be adopted? The focus of the paper is to discuss the text-centered way to interpret musical works, the theory of which originated from the French philosopher Paul Ricoeur’s text hermeneutics. Compared with the composer-centered and audience-centered ways in the past, the text-centered way should also play an important role in translating musical works. Once the music score and the acoustics are ascertained, musical works become text. Without the specific context, distanciation between text and composer, external environment, concrete references and original audience comes into being with some autonomy, for text mainly exists as meaning of musical works. Although the composer-centered and audience-centered ways of interpretation also involve the aspect of comprehending text, text is mostly used as the basis and materials for a better understanding of the composer and audience rather than the text itself. Therefore, the text-centered way not only is worth a try but also brings us new possibilities. Specifically, the text-centered way of interpretation requires us to commit ourselves to the text, interpret works according to the text, and enrich and mold ourselves by means of a thorough understanding of the text. Since text has already existed, it can help increase reliability of interpretation and adopt some specific methods and strategies. In light of this, the dissertation tries to interpret musical works according to the text-centered way and with the help of aesthetic and metaphorical thinking.There is no doubt that the interpretation of musical works is to discover the meaning behind the musical works. So meaning is a question which can not be bypassed. The focus of this dissertation is not to identify whether musical works have meaning or not, but to interpret them on the condition that all musical works are meaningful. It is pointed out that meaning of musical works includes sense and reference. And meaning of text is divided into three parts: phenomenology, philosophy of language and semantics, which relate to and rely on each other, while metaphor is a key to highlighting meaning and also plays an indispensable part through the whole process. Interpretation should start from text first, and try to find the structural meaning via aesthetic and metaphorical thinking, and then use it as the basis for thoroughly understanding the reference to the ontological level via recontextualization after metaphorical thinking and decontextualization, which makes musical works associated with the world.The introduction of the thesis is mainly about the research scope, purpose, significance, status and problems. The first part of the thesis mainly discusses three important relevant theoretical problems, including text, aesthetics and metaphor. It lays a theoretical foundation for the study of interpreting music works. The second part discusses Schubert’s instrumental musical work Unfinished Symphony in b Minor as well as the opportunity and strategy of interpreting instrumental works. The third part studies Schubert’s vocal music work Winterreise, as well as the opportunity and strategy of interpreting vocal works. The last chapter discuses the identity of interpretation, consisting of the identity of works’ meaning, the identity of different interpretation, the subjectivity of interpretation, the limitation of interpretation and so on.更多还原