Is there really only “regression”? - Rethinking Adorno's Multidimensional Critique of Stravinsky

真的只有“倒退”吗？—再思阿多诺对斯特拉文斯基的多维度批判

[Background] Since the twentieth century, Chinese musicologists have increasingly emphasized the relationship between music and society, and between music and philosophy, with Adorno being a key figure in scholars' discussions. [Purpose] The purpose of this paper is to elaborate Adorno’s dialectical evaluation and multidimensional perspective on Stravinsky. [Methods] Based on the research of domestic scholars on Adorno’s “retrogressive” evaluation of Stravinsky, this paper finds that scholars mainly elaborate Adorno’s critical evaluation of Stravinsky, ignoring the correlation between Adornos affirmative premise that Stravinsky is a representative of new music and his multidimensional critique of musicianship, sociability, and philosophicality, as well as the dimensions of the critique. [Results] Adorno’s path of social critique using musical form as a critique of social mediation. [Conclusion] Adorno, in the process of evaluating Stravinsky, based on the analysis of musical works and combining sociology and philosophy, emphasizes the cognitive function of musical works, providing a highly composite and dialectical perspective on the study of musicology.

【背景】自二十世纪以来，中国音乐学界愈来愈重视音乐与社会、音乐与哲学的关系研究，其中，阿多诺是学者讨论的重点人物。 【目的】本文旨在阐述阿多诺对斯特拉文斯基的辩证性评价与多维度视角。 【方法】本文基于国内学者关于阿多诺对斯特拉文斯基的“倒退”评价研究发现学者们主要阐述阿多诺对斯氏的批判性评价忽略其对斯氏是新音乐代表的肯定性前提与音乐性、社会性、哲理性的多维度批判及批判维度之间的关联。 【结果】阿多诺以音乐形式作为批判社会中介的社会批判路径。 【结论】阿多诺在对斯特拉文斯基的评价过程中，以音乐作品分析为基础并结合社会学与哲学，强调音乐作品的认识功能，对音乐学的研究提供极具复合性的辩证性视角。