【作者】 唐应龙；

【导师】 衣俊卿；

【作者基本信息】 黑龙江大学 ， 马克思主义哲学， 2014， 博士

【摘要】 阿多诺音乐哲学思想的重要性在西方已经得到公认，但他的许多观点大受批判：他对文化工业的否定遭到反批判，他对音乐听众的分类被批为标准不统一、逻辑混乱，他对勋伯格的肯定和斯特拉文斯基的否定受到一致否定，他试图通过音乐来认识和超越被管理的世界（die verwaltete Welt）被指责成逃避现实斗争的审美乌托邦。鲜明对立的评价让人深思：阿多诺的音乐哲学有何超越前人之点？与其整体思想是何关系？其美学救赎是否因无奈而逃避现实？带着这些问题，本文对阿多诺以《新音乐哲学》为主的文本研究，发现阿多诺对勋伯格等音乐家的深入分析，清楚地证明了新音乐本身的形式自律与社会本质的内容他律的辩证关系，并在这两个维度上通过与瓦格纳、斯特拉文斯基等音乐家的具体对比，说清了他肯定勋伯格的理由；他对文化工业的全盘否定、对音乐家和听众的独特分类都基于他对于经验现实与社会理论辩证关系的理解，一如他在与达伦多夫争论当代资本主义社会性质中所表现出的对主观与客观的辩证理解：经验事实如果不能追溯到社会结构，才是主观之见。阿多诺音乐哲学思想是《启蒙辩证法》的补充说明，也成为《否定的辩证法》思想的重要中介。正是在对奥斯维辛这一“第二自然的灾难”无法释怀的反省中，阿多诺借助音乐实现了从人类物质历史到精神文化中所存在的不断自我否定的事实的贯通。同时，以《启蒙辩证法》为根的哲学思想也是其进行音乐批判的理论根基，他对音乐的辩证认识与深入批判，都得力于他的哲学思想。阿多诺的美学救赎，把音乐作为认识现实、走向解放的重要途径，不应被简单指责为逃避现实斗争的审美乌托邦，而是对马克思批判的武器的时代发展和批判精神的本质继承。本文除导言的选题原因、研究现状综述等背景介绍外，分五章具体论述，第一章“从《启蒙辩证法》到《否定的辩证法》”简要梳理二书的内容，指出《新音乐哲学》的中介作用；第二章“音乐的同一性逻辑和绝对否定精神”论述阿多诺音乐批判与哲学思想的互文性，重点介绍《新音乐哲学》一书的内容及其音乐哲学思想；第三章“作为否定的辩证法的政治音乐学”从音乐结构、音乐功能、音乐生产等三个方面论述阿多诺音乐哲学批判的政治内涵与现实意义；第四章“政治音乐学的批判与救赎”通过对其《新音乐哲学》的进一步展开，论述阿多诺音乐批判的现实救赎功能；第五章“阿多诺与马克思主义”主要讨论阿多诺与马克思和西方马克思主义诸家的异同，对比说明阿多诺的音乐批判理论。更多还原

【Abstract】 The importance of Adorno’s philosophy in music has been recognized in the West,but many of his views was more of a critique; the culture industry denied by him wasbeing anti-criticism, his classification of music listeners considered the standard was notunified and logical confusion, his opinion that Schoenberg means progress andStravinsky means regression has been consistent negative criticism, and his trying tounderstand the control of society reality through music was accused of escapingstruggling in reality to aesthetic Utopia. The paradox of assessment on Adorno causedpeople inevitably to think the reason, so with the puzzles such as, in what waysAdorno’s philosophy of music surpass their predecessors? What’s the relationshipbetween Adorno’s philosophy of music and the whole idea of his thoughts? WhetherAdorno’s aesthetic redemption was a kind of evasion of reality?Through the study of Adorno’s works major in "Philosophy of New Music", Ifound that Adorno’s analysis of Schoenberg and other musicians, has very clearlyarticulated the content——the dialectical relationship between the music itself in theform of self-discipline and heteronomy of social nature, and in particular by comparingthese two dimensions through Wagner, Stravinsky and other musicians, he clearly gavethe reason why he supported Schoenberg. His negating the culture industry, and hisunique classification of musicians and listeners were based on understanding thedialectical relationship between empirical reality and theory of society, as in his debateon the social nature of contemporary capitalism against Dahrendorf, with subjective andobjective understanding of the dialectic: if the experience cannot be traced back to thefact of the social structure but easy subjective.Adorno’s philosophy of music was not only a detailed excursus to the "Dialectic ofEnlightenment" wrote by him and Horkheimer together, but also directly become an important mediation in his later "Negative Dialectics". It was on the second Auschwitznatural disasters that cannot be relieved of this reflection, Adorno realized the humanmind via music, from the human history of material to spiritual culture, throughcontinuous self-negation. Meanwhile, the "Dialectic of Enlightenment" was the root ofhis thoughts of philosophy which was also his theoretical foundation conducting musiccriticism, for his dialectical understanding and in-depth criticism of music, all thankedto his philosophy.Adorno’s aesthetic Redemption, which took music as an important way tounderstanding the reality and reaching liberation, should not be simply blamed asAesthetic Utopia for avoiding struggle, but development and the critical spirit ofinheritance of criticism of Marx’s era.Topics in this article except the introduction, which includes the reason whychoose this subject and the background of nowadays researches, the five chapters dealspecifically. The first chapter,“from ‘Dialectic of Enlightenment’ to ‘NegativeDialectics’," briefly introduces the contents of the two books, and points out that "Philosophy of new music " takes a role of mediation; Chapter II,"identity logic and thespirit of absolute negative of music", specifically addressed the intertextuality betweenAdorno’s music criticism and philosophy, and highlights the contents and musicphilosophy of the Philosophy of New Music; Chapter III,"as a negative dialectics ofpolitical musicology", and other detailedly discusses political connotations and practicalsignificance of Adorno’s the criticism of music philosophy from those aspects ofmusical structure, music function and music production; Chapter4,"critics andRedemption of the political musicology", through his" Philosophy of New Music "tofurther expand, discusses Adorno’s music criticism the function of redemption; Chapter5,“Adorno and Marxism”, focuses on discussing similarities and differences betweenAdorno and Marx and other various Western Marxism, and steps further to narrate Adorno’s critical theory of music in comparison.更多还原