论音乐作品的原作——从茵伽尔登的《音乐作品及其本体问题》出发所作的思考.pdfVIP

万方数据 摘 要 从茵伽尔登对音乐作品的分析方法中可以看出，以往“忠于原作”的几种观念——“忠 于乐谱”、“忠于演奏”、“忠于创作意图”以及“忠于传统”——都存在显著的理论缺陷， 最终它们“忠于”的东西根本就不是音乐作品。虽然表面上茵伽尔登的理论消解了原作的 存在，但从理论分析中可以发现，茵伽尔登并没有真正地消解原作。造成他的理论矛盾的 根源在于其理论的出发点。 音乐作品的原作存在于作曲家的意向活动当中，是作曲家的“纯粹意向性对象”。原 作与一般意义上的音乐作品有一定的区别，它是多层结构，包含作曲家隐含在其中的内容 成分。由于原作具有开放性，原作不是具体的存在，因此，对原作的“忠实”只能从一定 程度上对它进行把握，而不是完全占有。 关键词：音乐作品；原作；茵伽尔登；《音乐作品及其同一性》；“忠于原作” I 万方数据 Abstract Seen from the Roman Indergardens analysis of music works, the several ideas about faith to the original such as faith to the score, faith to the creation intention and faith to the traditional have obvious defects, eventually the things what they are faith to are not the music works. Although looking from the surface, the theoretics from Indergarden have dispel the original , but can be found from the theoretical analysis that the Indergarden did not really eliminate the original. Actually, Indergarden s starting point of the theory causes his theories contradicted each other. Music works original exists in the composers intention activity and the original is the composers pure intent object.Music works original is different with the general sense of music works , it is a multi-layer structure, and it is including some hidden contents . The original is not specific because of its open,therefore, faith to the original can only possess it from a certain , but not completely . Key words:Music works；Original；Roman Indergarden；THE WORK OF MUSIC AND THE PROBLEM OF ITS IDENTITY；Faith original II 万方数据 目 录 中文摘要 ……………………………………………………………………………………Ⅰ 英文摘要 ……………………………………………………………………………………Ⅱ 绪论 …………………………………………………………………………………………1 一、选择本课题的缘由……………………