【现代性的声音形象——德国音乐与哲学】
(2013-04-03 12:40:14)
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文化 |
Sound Figures of Modernity——German Music and Philosophy
Does music have a language? If so,
is it a language of its own?
What kind of language is it? If it can be conceded that music is or
has a
form of language—and the jury among musicians and theorists of
music
alike remains out on this point—how would the language of music
relate
to the language of speculative thought, its grammatical
categories
and organizing principles, its logic and its vocabulary? In his
“Fragment
on Music and Language,” Adorno argues that “music resembles
language
[Musik ist sprachähnlich] . . . in that it is a temporal sequence
of articulated
sounds that are more than mere sounds. They say something,
often something human. The more sophisticated the music, the
more
penetratingly they say it. The succession of sounds is related to
logic:
there is right and wrong.” He continues: “But what has been said
cannot
detach itself from the music. Music forms no system of signs
[kein
System aus Zeichen].”5 Thus, although music and language share
certain
modes of signification that, broadly speaking, could be construed
as belonging
to the vast realm of textuality, the content of music cannot
be
considered as belonging to the temporal gesture of its performance
and
cannot be paraphrased without being erased. In its refusal to
supply reliable
hermeneutic access to its arrangements of acoustic signs,
music
singularly denies itself, if not to citation, then certainly to
summary and
paraphrase.
【黑格尔】For Hegel, music does not simply reflect or
capture the subject through the performance of a specific acoustic
content; it elevates the self into its very unfolding.In music,
theessence of the self comes into its own; when listening to music,
the selfabandons itself to itself, hears itself as that which comes
to itself by involuntarily abandoning itself to melody and rhythm.
Music, as an aesthetic
manifestation of Spirit, allows the self to move on its way to the
Absolute
at a pace and rhythm that the speculative discourses of abstract
aesthetic
systems hardly can match.

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