【作者】 高拂晓；

【导师】 王次炤；

【作者基本信息】 中央音乐学院 ， 音乐学， 2007， 博士

【摘要】 伦纳德·B·迈尔对当代音乐美学发展做出了重要贡献,他的思想和分析方法在当代音乐学界产生了重要的影响。本文主要研究了他的音乐美学思想中最具有代表性的两个核心问题——期待与风格。论文勾勒了迈尔的生活经历和思想产生的背景,从总体上概括了迈尔的思想特征,指出了期待与风格是迈尔思想的核心。通过对情绪和情感的概念进行辨析,并与汉斯立克和苏珊·朗格的观点进行比较,作者认为,迈尔的音乐情感论是以非参照性的情绪体验为主的音乐的特殊情感论。在重新阐释迈尔的音乐期待与意义的关系的基础上,论文指出,应该从句法价值和审美体验两个方面去理解迈尔所言的音乐意义问题。接着,论文阐述了迈尔的风格分析观念,强调了迈尔风格理论的历时性和共时性结合,历史与审美统一的特点。作者认为,稳定性和变化性是迈尔风格理论的核心。通过考察浪漫主义意识形态对风格变化的影响,风格的稳定性和变化性的辩证关系得到了具体揭示。其中,对风格变化中稳定性特征的形态归纳和解释是迈尔的风格理论不同于其他理论的重要特征。在讨论了迈尔观点中有关“形式主义”的实质后,作者以审美的现代性视野审视了风格的内涵,指出了风格的“内在超越性”及期待与风格的审美张力,并认为期待与风格都具有开放性。最后,论文从理论与实践两个方面阐述了本研究的意义,指出了迈尔音乐美学思想的成就与局限。作者认为,迈尔的期待与风格理论在当代西方音乐美学史上占有重要的地位,它所引起的问题远远大于它所解决的问题。迈尔的思想不仅对我们的音乐美学理论研究而且对音乐实践问题都具有很大的启发。更多还原

【Abstract】 Leonard B. Meyer contributes a lot to modern musical aesthetics, whose thoughts and analysis methods have imposed great impact on the modern musicology. This dissertation focuses on Meyer’s two main influential issues in musical aesthetics: expectation and style.After describing Meyer’s life experiences and the background from which his ideas developed, the author briefly generalizes the typical features of Meyer’s theories and concludes that expectation and style are the heart of his musical ideas. The study conducts the conceptual analysis of emotion and feeling. Comparing with Eduard Hanslick’s and Susanne K. Langer’s theories, Meyer’s theory of musical feeling is based mainly on the non-referential musical experience of emotion. In restating the relationship between expectation and meaning, the author suggests that Meyer’s musical meaning should be explored in terms of the syntactic values and aesthetic experience. Then, through the statement of Meyer’s idea of style analysis, the study emphasizes the characteristics of style in terms of the combination of synchronic and diachronic styles, history and aesthetics. Stability and variability are two key issues in Meyer’s style theory. With the analysis of the impact from romanticism on the change of style, the dialectical relationship between the stability and variability has been revealed in details. The morphological induction and explanation of stability of style contribute to the distinctive character of Meyer’s theory. After analyzing the essential question in Meyer’s formalism, the author elucidates the connotation of style in terms of aesthetic modernity, and indicates the immanent transcendental quality of style and the aesthetic tension of expectation and style. In conclusion, the author summarizes the theoretical and practical significance of the study and points out Meyer’s achievements and limitations in his musical aesthetics. Meyer enjoys great reputation for his Expectation and Style theory in the history of modern western aesthetics of music. It seems that what his theory arises is much more valuable than what it has solved. His theory provides many insights not only for musical aesthetic researches but also for musical practices.更多还原