【作者】 杨婧；

【导师】 杨燕迪；

【作者基本信息】 上海音乐学院 ， 音乐学， 2012， 博士

【摘要】 “风格”是中西艺术理论最古老的诗学范畴,也是音乐理论的中心问题,它既关涉创作、作品、演奏、接受、批评等所有音乐理论层面,又纵贯传统、现代、后现代等音乐流变的不同历史时空。故而重视风格研究,于音乐理论的基础建设,乃至整个艺术学学科发展不无裨益。本文研究思路是：以“作曲家个人风格形成及演化机制”为中心坐标,展开风格研究。毋庸置疑,作曲家个体既是音乐风格史的承载者,也是风格体系单元中的一个核心微观单位(相较之时代、民族、地域、作品),故本文切入点虽小,却能够有效穿透和辐射各个音乐理论问题。本文主体共分三个部分,每部分均为三个章。第一部分“理论与方法”。通过对风格术语的混淆现象进行了学理性的归纳,原创性地提出风格的“复义性”,亦即,风格术语的混乱杂糅,乃是源于风格对象绝对的不确定性和含混性,唯有正视风格的“复义性”,才能从以往内容-形式、主观-客观的逻辑思维中解放出来,不再以科学的定性定量、哲学抽象求得一种本质性的风格定义。在此基础上,提出音乐风格的符号学定义：风格是一种人类建构、感知和理解世界的符号语言,通过人类广袤漫长的生存实践逐渐积淀为文化性的心理结构。故,风格既是观念亦是实存；既是一种认知体系亦为一种想象性视野,音乐作为风格表征体系的一种,亦具有文化约定性的符号性,能够沟通、指涉、以及规约人的音乐实践和审美感知。音乐符号机制自身独特的运作方式及其吐纳生存经验的功能,证明了音乐风格的身份研究不可能仅仅局限在美学思辨和形态分析的自主论领域。第二部分“体验世界：作曲家的自我意识与身份建构”。其论述主旨,在于围绕“缘身体验”的生存论根基,揭示作曲家的生活与创作的深层意义关联,并以肖邦在巴黎的生活与创作加以例示。核心观点主要有两点：首先,体验的缘身性说明了作曲家内在生活的体验范畴、品质以及感受力的深广度,与历史经验的习性相互缠绕,与个人生活的选择一脉相通。由此,对于作曲家个人风格的形成及演化问题的解释,不能抛开作曲家的历史生存视域,包括与所处的时代氛围、思想渊源、师承关系、个人际遇、音乐实践、物质水平等方方面面的可能性基础因素,局限在纯音乐、纯美学、或生理学的研究领域。其次,个人的艺术风格及创作智能的发展轨迹,不能用生物学、物理学的机械时间逻辑加以解释,而只能以作曲家个人生命史对人生意义寻找的整体时间过程加以参照。原创性地提出了考察和解释“缘身体验”的四种原则(思维／认同／位格／博弈),并引入梅洛·庞蒂的术语“个人意义弧”,解释了风格形成及演化的时间问题。第三部分“表达世界：传统与个人性”。以音乐传统与个人创造性的辩证关系为出发点,通过分述“风格意识”的约定性内涵；音乐表达的性质；个人诗学的建构策略,逐层论证音乐技艺所包含的丰富而深邃的智思匠心、生活智慧、勤学苦思。提出：1)“风格意识”其实质乃是作曲家对于传统的“历史感”,它有赖于学习：2)一种表达若真正企及了“风格”,其个人主观性并非一种放纵,而是一种直达作品本质的审慎洞察,关涉感官体验、情感认知、场景意识、意象建构、体裁汰选、遣词造句等各个维度之间的联系,因而有着极其丰富微妙、错综复杂的意义层面,不可化约为一个定式的理性技术概念或图表分析。3)一个人真实地拥有一个诞生于语言活动或独特个人修辞学中的自我,必须走过艰苦漫长的过程。由此,作曲家个人风格的形成,明了人类成功地驾驭音响规则使其成为自我意绪的一种表达媒介,呈现了性灵智思可以企及的完美境界。4)每一位作曲家,在发展自己的个人风格时,都不可避免地寻求将自己的表达与过去的音乐典范联系在一起,在作曲家表现自我的冲动,与遵循传统的冷静之间,存在着一种“恒久的辩证法”。5)美学的批评,相应的也应该首先完成对于作曲家创作智思的分析。个中具体例证,包括：“‘鸟的意象’：梅西安的隐喻世界及‘风格意识’”；“反复手法与‘时间隐喻’”；“利奥塔式的‘崇高’：肖邦《a小调前奏曲》与‘不可能的对象’”。最后的结论部分,在回顾和归纳全文核心观点的基础上,明确提出了风格的“复义性”以及哲学作用于音乐研究的限度问题,并对关于作曲家个人风格及作品身份的界定条件问题展开追问。更多还原

【Abstract】 ’Style’is one of the oldest categories in the art theory, and the issues concerning style are also one of the basic problems of music theory. It not only refers to all the levels of music theory such as musical creation, musical works, performance, acceptance, and criticism, but also covers different historical space and time of musical changes such as traditional, modern and post-modern and so on. Musical style is unavoidable in all the musicology disciplinary. Therefore, for the infrastructure of the music theory, and the disciplinary development of arts, this research would be beneficial. Needless to say, the composer as individual is the carrying of the history of musical style, and also the smaller unit in style system (compared to the era, ethnic, geographic, work). Although the entry point of this paper is small, but it can effectively penetrate and radiate to music theory problems.This article is divided into three parts, each part are three chapters.Part Ⅰ:"theory and method".First of all, as to the confusion phenomena of "style", the dessertation proposes a concept of the ambiguity. That is, the confusion in using this terminology is because of the object’s uncertainty and ambiguity, only by facing up to its complex ambiguity, we can be freed from the so-called content/form of subjective/objective in the past tradition of thinking, and no longer obtain the essential definition by scientific qualitative and quantitative, or philosophical abstraction.It is generally accepted that style is a symbolic language, which constructed by the human, for perception and understanding of the world.It is a concept and also the existential; both a specific system is also an imaginal vision, and gradually formed in the vast expanse of human practical activities of the specific course. As a sort of style expression system, music also has the symbolic nature of the cultural conventions, with which people communicate, referent, and to require musical practice and aesthetic perception. Music notations mechanism of their own unique way and the function of absorption and showing the survival experience, all which proved the identity of musical style could not be confined to any aesthetic reasoning or the field of musical form of autonomy. Part II:"Experience the world:the composer’s self-awareness and identity construction.Around the foundation of existential ontology on the embodiment experience ", reveal the deep meaning of the association of the composer’s life and creation, and illustrated an example of Chopin’s living and writing in Paris. Its main points are as follows:First of all, the embodiment of experience shows that the breadth and depth of quality and sensibility of the composer’s inner life experience, intertwining with the habits of historical experience, and intricately connected with personal life choices.As a result, the fonnation of the composer’s personal style and evolution of the interpretation can not put aside the history horizon of the composer’s existential ontology, including most aspects of and the atmosphere of the times, the ideological origins, the masters, and personal experiences, music practice, the material level, which not limited to pure music, pure aesthetics, or physiology research areas. Second, the development path of personal artistic style and creative intelligence can not be explained by biology, physics, mechanical time logic, but should referent to the composers personal life history for the meaning of life and proposed four understanding principles of " embodiment experience"(thinking/identity/persona/game),And introduce the "arc of the personal meaning" from Merleau Ponty to explain the time problem of formation and evolution of style.The part III:the world of expression:traditional and personal.Here the dialectical relationship between musical tradition and individual creativity is the starting point, by discussing the conventional connotation of the "style consciousness; the nature of musical expression; personal poetics strategy, demonstrating music skills in which contains the rich and deep intellectual thinking, ingenuity, wisdom, diligence. Proposed:1)"style consciousness" and its essence is the composer’s traditional "sense of history, it depends on learning:2) if an expression really accesses the " style ", the personal subjectivity is not an indulgence, but a prudent insight accessing to the works of the nature directly, for it linked with various dimensions such as sensory experience, emotional awareness, scene awareness, image construction, Genres selection, Rhetorical methods, etc., and thus has a very rich and subtle, intricate level of significance which couldn’t be reduced into a kind of given rational technical concept or chart analysis.3) Any one has a true-self born in language activities or unique individual rhetoric, and who must walk a long, arduous process. As a result, the formation of the composer’s personal style, proved human successfully manage to sound rules, and make medium of expression a self-idea, showing the perfection of the mind and intellect has reached.4) Every composers, in developing their own personal style, will inevitably seek the association with their own expression and the musical examples of the past, and between the composer self-expression and traditions, there is a’permanent dialectics’.5) Aesthetic criticism, should first complete analysis of the composers’creative ideas, correspondingly. Some specific examples in this part include:the image of ’bird’:Messiaen’s world of metaphor and ’sense of style’; repeated practices ’time metaphor’";" Lyotard’s ’noble’:Chopin " Prelude in A minor’" and impossible objects’".Conclusion.After review and summarize the general view of this dissertation, explicitly presents the idea: the limits of the style "intervention", as well as of the role of philosophy in music research, identity.更多还原