摘要
本文探讨了中国音乐理性的起源问题,揭示了中国音乐理性的科学传统、伦理传统和美学传统的复杂关系。中国音乐理性表现出在边缘思维的特点,科学理性通过联系性思维和外推式逻辑而与伦理理性和美学理性发生关联,其概念和范畴有开放性、非定域性特点;音乐伦理和音乐美学表现出学科内部诸要素间的互渗和张力,审美上追求活跃的边缘耳感和有控制的自由,从而抵达当下生命感悟。中国音乐理性有自己的特别路向,与西方建立在数学逻辑理性之上的音乐理性不同,西方结构理性的发达产生了丰富的和声音乐,中国展衍理性则创造了极富生命感的旋律之美,中西音乐理性虽然差异,但都是人类文明的成果。
This article traces the genesis of Chinese musical rationality and elucidates the intricate synergies among its scientific,ethical,and aesthetic traditions.Chinese musical rationality is fundamentally characterized by boundary thinking:scientific rationality engages ethical and aesthetic rationalities through associative reasoning and extrapolative logic,thereby displaying both conceptual openness and non‑locality.Within this framework,musical ethics and aesthetics mutually penetrate yet remain in productive tension,seeking an engaged perception at the margins and a disciplined freedom that ultimately yields an immediate apprehension of life.Consequently,Chinese musical rationality follows a developmental trajectory distinct from the mathematical‑logically based pathway of Western musical rationality.Whereas Western structural rationality fostered the rich harmonic idiom of European art music,the developmental rationality of China cultivated melodically driven sound worlds imbued with profound vitality.Despite their differences,the two rationalities represent parallel and equally significant accomplishments in the history of human civilization.
出处
《中国音乐》
北大核心
2025年第4期5-7,22,8-22,共19页
Chinese Music
关键词
理性
结构理性
展衍理性
概念开放性
非定域性
边缘思维
Rationality
Structural Rationality
Developmental Rationality
Conceptual Openness
Non‑locality
Boundary Thinking
作者简介
罗艺峰(1948-),男,汉族,西安音乐学院教授,中国音乐学院博士研究生导师。
