「時代精神」到「民族精神」--從「時間」與「空間」的辯證論許常惠現代音樂運動的接受史（1950-1970）

Abstract

本文旨在從接受者研究為中心的角度，探討許常惠「現代音樂運動」與其接受者之間的交流、溝通，與當中牽涉到的「時間」與「空間」審美議題，並在「許常惠現代音樂運動」、「許常惠音樂創作作品」、「接受者」、「台灣現代音樂發展史」四者的辯證關係中，建構許氏「現代音樂運動」的接受史。過去，對於台灣現代音樂的存在與發展，只看成與作曲家的創作活動有關，但是事實上，接受者參與了台灣現代音樂的存在，甚至決定著台灣現代音樂的存在，因此，本文將從接受史中「期待視域」的概念切入，探討接受主體的「期待」與許常惠本人「意圖」之間的距離與其背後所暗示的審美困境，並藉由探討接受主、客體之間對「時代精神」與「民族精神」認知距離的變化，呈現掩蓋在音樂事實下的音樂交流。

The goal of this study investigates the aesthetics conflicts in the process of musical modernization/westernization in Taiwan from a receiver’s perspective. In particular, this paper demonstrates a conflict between the temporal and the spatial historical consciousness among composers and their commentators. It will explore the conversations, interpretations and aesthetics evaluations involved, and construct a complete picture of Hsu Tsang-Houei’s modern music movement reception history by cross-examining “Hsu Tsang-Houei’s modern music movement”,” Hsu Tsang-Houei’s musical works”, ”the receivers”, and “the development of Taiwan modern music.” Previously, the emergence and development of Taiwan modern music is only regarded in light of the composers’ creative activities, however, in fact, the receivers themselves take part in the evolution of Taiwan modern music, and in some ways they even decided the existence of it. Therefore, this study will begin from the aspect of “Horizon of expectations” and go in depth to reveal the deviation between the receivers’ “expectations” and Hsu Tsang-Houei’s own “intent,” and also the subtle aesthetics conflicts it hints at. By looking at the difference of each side’s understanding of “Zeitgeist” and “National spirit”, this study will present the musical interactions that are hidden beneath the simply facts of musical history.