發(fā)布時(shí)間：2018-05-03 04:18

  本文選題：柴科夫斯基 + 音樂(lè)美學(xué)思想��； 參考：《上海音樂(lè)學(xué)院》2006年碩士論文

【摘要】：所謂“前見(jiàn)”是當(dāng)代西方哲學(xué)中的“哲學(xué)詮釋學(xué)”的理論范疇之一。本文將以此作為研究視角的切入點(diǎn)與理論工具，在柴科夫斯基音樂(lè)美學(xué)思想的研究中對(duì)之加以應(yīng)用和驗(yàn)證。在此，本文試圖以柴科夫斯基的樂(lè)評(píng)文本為解讀對(duì)象，探詢其音樂(lè)美學(xué)思想所賴(lài)以產(chǎn)生的語(yǔ)境與其中可能含有的“前見(jiàn)”，并在當(dāng)代詮釋學(xué)的理論視域中對(duì)這些“前見(jiàn)”進(jìn)行評(píng)析。同時(shí)，，本文也試圖在操作的層面上對(duì)如何將這一理論工具應(yīng)用于音樂(lè)美學(xué)思想的解讀進(jìn)行進(jìn)一步探索。本文的主要內(nèi)容如下： 第一章中，本文對(duì)“前見(jiàn)”在其所屬的“哲學(xué)詮釋學(xué)”論域內(nèi)的理論內(nèi)涵及與之相關(guān)的理論主旨進(jìn)行了總結(jié)梳理。本文的第二章以柴科夫斯基的樂(lè)評(píng)文本為解讀對(duì)象，對(duì)其中所體現(xiàn)的柴科夫斯基的音樂(lè)美學(xué)思想進(jìn)行了歸納梳理，以之作為后文“前見(jiàn)”解析的文本現(xiàn)象。在第三章中，本文以現(xiàn)有的文本現(xiàn)象及相關(guān)資料為依據(jù)，對(duì)柴科夫斯基音樂(lè)美學(xué)思想之“前見(jiàn)”的各種構(gòu)成要素進(jìn)行了實(shí)證層面的探究。在第四章中，本文對(duì)柴科夫斯基音樂(lè)美學(xué)思想中的“前見(jiàn)”進(jìn)行了兩個(gè)層面的解析，即：首先在原理論的視域內(nèi)，將“前見(jiàn)”在原理論中的實(shí)證性成分與思辨意義引入柴科夫斯基音樂(lè)美學(xué)思想的解讀。其次，本章就如何在操作的層面上將“前見(jiàn)”作為理論工具具體應(yīng)用于音樂(lè)美學(xué)思想的解讀展開(kāi)了進(jìn)一步探索：即對(duì)柴科夫斯的音樂(lè)美學(xué)思想與其“前見(jiàn)”的構(gòu)成要素之間的對(duì)應(yīng)關(guān)系進(jìn)行了探究，并由之提出了一系列嘗試性的探究方法與步驟。在結(jié)語(yǔ)中，本文對(duì)研究所取得的初步成果及在研究中遇到的問(wèn)題進(jìn)行了總結(jié)與反思。
[Abstract]:Preview is one of the theoretical categories of philosophical hermeneutics in contemporary western philosophy. This paper will use this as a starting point and a theoretical tool in the study of Tchaikovsky's music aesthetics. In this paper, we try to take Tchaikovsky's music review text as the reading object, and probe into the context on which Tchaikovsky's music aesthetic thought is based and the "previous views" which may be contained in it. And in the contemporary hermeneutics theory field of view to these "previous views" to carry on the appraisal. At the same time, this paper attempts to further explore how to apply this theoretical tool to the interpretation of music aesthetics. The main contents of this paper are as follows: In the first chapter, this paper summarizes the theoretical connotation and related theoretical purport of "foresight" in its philosophical hermeneutics. The second chapter takes Tchaikovsky's music review text as the reading object, summarizes and combs Tchaikovsky's music aesthetics thought embodied in it, and regards it as the text phenomenon of the analysis of "see before". In the third chapter, based on the existing text phenomena and related materials, this paper explores the elements of Tchaikovsky's musical aesthetics. In the fourth chapter, this paper analyzes the "foresight" in Tchaikovsky's musical aesthetics from two aspects: firstly, in the perspective of the original theory, This paper introduces the empirical elements and speculative meanings of the former view into Tchaikovsky's musical aesthetics. Secondly, This chapter further explores how to apply "foresight" as a theoretical tool to the interpretation of music aesthetic thought: namely, it makes a further exploration on Chaikovs' musical aesthetics thought and the constituent elements of his "foresight". To explore the corresponding relationship between, And put forward a series of tentative inquiry methods and steps. In the conclusion, this paper summarizes the preliminary achievements and the problems encountered in the research.
【學(xué)位授予單位】：上海音樂(lè)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2006
【分類(lèi)號(hào)】：J601

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 吳修林;柴科夫斯基歌劇《黑桃皇后》戲劇沖突的初步闡釋[D];福建師范大學(xué);2008年

2 林潔;約翰內(nèi)斯·勃拉姆斯《11首眾贊歌前奏曲》研究[D];西安音樂(lè)學(xué)院;2010年

本文編號(hào)：1836938