歷史性與藝術性的兩難：從Carl Dahlhaus的「結構音樂史」論歷史書寫的永恆困境

Carl Dahlhaus's Idea of Structural History and the Tension between Historicity and Art Characters

楊建章(Chien-Chang Yang)

《臺大文史哲學報》 61期 (2004/11) Pp. 25-52

https://doi.org/10.6258/bcla.2004.61.02

摘要

一九八九年過世的德國音樂學家卡爾‧達爾豪斯（Carl Dahlhaus, 1928-1989），被公認是二十世紀末的歐洲音樂史學巨擘。儘管學界對他的評價毀譽參半，但無可諱言的是，他對於歐洲音樂範疇裡的音樂理論史、美學史、以及十八至二十世紀音樂史的相關著作，直到今日還是講論歐洲音樂史時很難規避的典範。達氏史論的殊勝之處，在於他能夠運用德國傳統的批判史學，對於目前仍然負嵎頑抗的傳統德語系音樂史論述，能夠一針見血地攻子之盾。而達氏的結構史方法，雖然目的主要在批判十九世紀德國傳統史學與二十世紀教條馬克思史學裡的歷史決定論，他的方法下所呈現的多元價值論、以及對於歷史時間的重新思考，卻可與同時代的後現代史學相呼應。本文藉由討論達氏的音樂史論裡所謂「結構史」的概念，來探討音樂史裡關於歷史性與藝術性的兩難困境。達氏的結構音樂史旨在提出一方法論，當成音樂史家面對其歷史材料（音樂作品）時價值判斷的暫時依據；其核心其實並不在於用一個、或一些抽象的概念來化約歷史的複雜性，也非僅將歷史現象單純地用結構因素來解釋，而在於史家如何找出歷史結構與各種結構的結構之間錯綜複雜的辯証關係。然而，達氏的結構史，固然長於處理多重面向的歷史論述，因而提供音樂史家在面臨價值判斷時一種方法論上的喘息空間；但是在直接面對藝術作品的藝術性時，達氏一方面不斷耳提面命藝術品歷史價值的有限，另一方面始終不願放棄美學價值的獨立性與超越性。換言之，達氏頻頻著墨於藝術品的歷史性的價值，卻閃避解釋藝術品之歷史性與美學價值判斷的歧異。此一矛盾，達氏終身未能解決。

關鍵字

卡爾‧達爾豪斯 ； 結構史 ； 歷史方法論 ； 歐洲音樂史 ； 後現代史學

並列摘要

Arguably the most influential post-war German musicologist, Carl Dahlhaus has been a target of attack and source of inspiration for his intellectualist approach to musicology for decades. While his revision of European musical history has generated heated debates among scholars, Dahlhaus's historiography has not been treated with equal attention, especially, his idea of ”structural history” (Strukturgeschichte), a key term of his magnum opus The Foundation ofMusic History and a guiding principle of his musico-historial writings. This paper argues that Dahlhaus's structural history offers music historians a method of accessing different viewpoints of historical subjects without subsuming one under another. The aim of Dahlhaus's methodology is not to reduce history into some overriding superstructures. Instead, his structural history is able to unravel the dialectic tensions in history by showing the complexity of conflicting structures. Furthermore, although Dahlhaus's approach hides itself behind the facade of German idealism, his discussions of value relativism and non-linear historical time are rather compatible with postmodern historiography. Nevertheless, there is still an inherent tension in Dahlhaus's method; namely, in promoting relativism in value judgment, he does not fully explain the relationship between historic and artistic meanings in music.

並列關鍵字

Carl Dahlhaus ； structural history ； historiography ； European music history ； postmodern

參考文獻

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