The Musicologist as Historian and Patriot: Imagining National Identity with the Musical Past in Modern Austria

音樂學者作為史家兼志士：以音樂的過去想象現代奧地利的國族認同

金立群(Lap-Kwan Kam)

《關渡音樂學刊》 11期 (2009/12) Pp. 191-206

https://doi.org/10.29873/GMJ.200912.0008

摘要

奧地利這個在二十世紀前半葉就換了六個國號、四首國歌的國家，它的集體記憶及認同怎能不充滿迷惘與混亂。在渴切追求國族認同之中，愛國的奧地利音樂學者難免會借用音樂歷史來想像國家的淵源不息與獨特。這個議題卻在近年的研究如1998的《最德意志的藝術》與2002的《音樂與德國國族認同》中頗受忽略，雖然正是奧地利的德國認同最具爭議。查自1918年起的奧地利音樂史學，呈現著兩套主要的不同策略，卻又各有難處。一為本質論，以「奧地利」的音樂為主題：但音樂中的「奧地利」是取決於形式風格，抑或只要是出於奧地利人手筆，然而「奧地利人」又是以血統、出生地、或歸化為準？二為地域論，專注於「在奧地利」的音樂：但那此如今在境外的哈布斯堡前屬地就一概不理？儘管如此，本研究仍對二十世紀奧地利音樂史學抱批判卻同情的解讀，有別於達爾豪斯對此再三的否定(1977, 80, 84)。達氏合理的質疑，限於當前疆界的奧地利音樂史能否反映所有歷史上以及美學上的狀況，但以一個德國音樂學者去無視他的奧地利同僚欲參與建國的正當需求，則頗為不智。面對認同的難題，我們實可援用維根斯坦的「家族相似性」(1953)概念來想像認同而避免本質論的窠臼，並以查理泰勒的「認可政治」(1992)來接納差異而無需據為己有。

關鍵字

音樂史學 ； 奧地利 ； 認同 ； 國族主義 ； 國際主義

並列摘要

For a country like Austria that had six official names and four national anthems just within the first half of the twentieth century, how can its collective memory and identity be anything but vague and disputed? In her desperate search for national identity, native musicologists with patriotic concern have inevitably engaged the musical past to imagine her continuity and distinction. Yet this issue is somehow marginalized in recent studies such as Most German of the Arts (1998) and Music and German National Identity (2002), although it is exactly Austria's German identity that has been so controversial. Two major and contrasting approaches in the historiographical writings since 1918 can be observed, and each not without its own difficulties. First, the essentialist approach, with ”Austrian Music” as its subject matter-but should the Austrianness in music be determined by formal essence or just by being composed by an Austrian, and Austrian by jus soli, jus sanguinis, or naturalization? Second, the territorial approach, concentrating on ”Music in Austria”-but should all those former Hapsburg territories be neglected? Nevertheless, this study attempts a critical and yet empathic reading of music historiography in twentieth-century Austria, and does not share Carl Dahlhaus' repeated objection to the whole project (1977, 80, 84). Although his skepticism, that a music history of Austria confined to the present national border could do justice to all historical and aesthetic circumstances, is quite sensible, it is insensitive for a German musicologist to disregard his Austrian colleagues' legitimate desire for participation in the nation-building process. In facing the problem of identity, we would rather invoke Wittgenstein's notion of ”family resemblances” (1953) to imagine identity without essentializing, and Charles Taylor's ”politics of recognition” (1992) to embrace differences without appropriating.

並列關鍵字

music historiography ； Austria ； identity ； nationalism ； internationalism

參考文獻

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