十九世紀「絕對音樂」的美學發展－兼論與「標題音樂」之辯證

The Aesthetic Development of Absolute Music in 19th Century-A Dialectic Discussion with Program Music

徐玫玲(Mei-Ling Shyu)

《關渡音樂學刊》 5期 (2006/12) Pp. 105-122

https://doi.org/10.29873/GMJ.200612.0005

摘要

十九世紀的西方嚴肅音樂世界裡，絕對音樂論述的代表者－Hanslick承先啟後，將絕對音樂的概念從浪漫主義文學家的闡述中焠鍊成絕對音樂的代表觀點，力戰標題音樂的實踐者－Wagner、Liszt和其擁護者。兩派各執己見，將此世紀音樂的發展裝扮的多彩繽紛。絕對音樂強調的是音樂純然的獨立性，而標題音樂卻將音樂的表現置放在「非音樂」元素的範疇中。究竟這兩種截然迴異的音樂美學觀點所引發的音樂辯證爲何？本論文將一一探討絕對音樂概念形成的過程，音樂實踐面的發展，最後探索標題音樂的概念，並將絕對音樂與標題音樂所堅持的觀點逐步釐清，亦同時盼能藉由這個切入點，來回顧十九世紀歐洲音樂發展的面向。

關鍵字

絕對音樂 ； 標題音樂 ； 形式 ； 內容 ； Hanslick

並列摘要

Eduard Hanslick, whose name is synonymous for absolute music of nineteenth century's classical music, gained inspiration from literary romanticists and established his concept for absolute music, which he developed into a definitive music form. Hanslick also challenged Richard Wagner, Franz Liszt and other advocates of program music. Absolute music emphasizes the autonomy of music; while program music, in its way of expressing music, places the importance of ”nonmusical” elements above music itself. Both parties insisted on their own theory and initiated on-going debates about the aesthetics of music throughout the nineteenth century. What is the musical dialectic between these two different ideas of musical aesthetics? This paper tries to solve the above issue by handling the following topics: discussing the formation of the concept of absolute music in detail, surveying the development of musical practice, and exploring the concept of program music. By doing so, this research aims to clarify the different viewpoints in absolute music and program music, and consequently, a review of the development of European classical music in 19th Century could also be brought forth.

並列關鍵字

absolute music ； program music ； form ； content ； Hanslick

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