從情感與形式論蘇珊朗格的音樂本體論

本論文旨在從蘇珊•朗格的《情感與形式》一書探討其音樂本體論。共分五節，除緒言與結論外，第二節「蘇珊•朗格的藝術符號學」介紹其藝術符號學的基本理論、特徵及體系，俾作為全文的論述基礎。第三節「蘇珊•朗格論音樂的本質」，伸論她摒棄傳統的研究方法，從哲學思辨的立場提出了「音樂是虛幻的時間意象」的主張，彌補了傳統研究的不足。第四節「蘇珊•朗格論音樂的情感與形式」，伸論她既強調音樂藝術是人類情感符號形式的創造，又肯定音樂的邏輯形式、運動形式、生命形式、有意味的形式的重要性，為突破他律論與自律論的爭論所作的努力。各節除介紹其獨特的觀點外，也評論其優缺點，庶幾能對其音樂本體論有較全面而深入的探討。

關鍵字

形式；音樂本體；情感；藝術符號

並列摘要

The purpose of the study is to investigate the ontology of music from Susanne Langer's Feeling and Form The study was divided into five sections. Besides preface and conclusion, the second section, ”Susanne Langer's art semiotics”, introduced the essential theory, characteristic, and system of art semiotics of Susanne Langer, to do as the discussing foundations of the text; the third, ”Susanne Langer's discussion on the substance of music”, discussed extensively that she rejected the traditional research method, brought up the advocacy 'Music is the illusory image of time' from the point of philosophy, to make her music aesthetics having great value; the fourth, ”Susanne Langer's discussion on feeling and form of music”, stated that she not only emphasized that music art is the creation of form symbolic of human feeling, but also approved the importance of the logical forms, physical forms, living forms, and significant forms, to make every endeavor to break through the debate between autonomy and heteronomy. In addition to introduce the singularities, the researcher criticized the merits and defects of Langer's aesthetic thoughts in each section, in order to expect having a comprehensive and deep investigation to Langer's music ontology.