本能美學之於發聲體法則的藝術性及音樂表現性的意義 ─ 論拉摩 1754年《觀察吾人之音樂本能及其法則》

Abstract

歷來學者針對拉摩音樂理念所作的研究皆指出，其中因涵帶理性主義與經驗主義於方法論上的衝突，導致其音樂理念與實踐經驗之間，屢屢出現不同調的歧異。 但是，拉摩美學理念的複雜度，尤其是自然法則與音樂藝術性表現之間的辯證關係，應可透過深究其於認識論上所持理念之沿革（與思辨哲學、機械哲學和經驗主義之關聯），獲得進一步的釐清。其中佔據拉摩理念核心的「本能美學」，顯示了本能因與天才特質起共同作用，對於「被暗示的變化音快速轉調」此藝術性手法，既能直觀感應且為其觸動激情，甚而輔助音樂的自律潛質得以成形。不同於笛卡兒的「心物二元論」，此為作用於心靈的「思想」及「感知」，同時與發聲體法則進行互動；其所形就的「表現性」，就達爾豪斯的三大分類（激發、再現、表明）而言，乃介乎於情感的「再現」以及「激發」的特殊型之間。本能美學的具體效益，展現於它為發聲體法則憑添的藝術性，此即為《觀察吾人之音樂本能及其法則》書中，拉摩試圖呈現的理性與感性和諧相依之道。

According to the past scholarly research on Rameau’s musical thought, there is a conflict between rationalism and empiricism in Rameau’s methodology that leads to discrepancies between his musical idea and the practical experience. However, the complexity of Rameau’s music aesthetic, especially the dialectic of natural principle and artistic expression of music, can be further clarified through investigating the changing phases of his thought involving ideas in speculative philosophy, mechanical philosophy, and empiricism. In particular, the concept of instinct plays a key role in Rameau’s epistemological thought. Working together with proper artistic genius, the instinct is able to intuit the musical expression of “rapid modulations with implied chromatics”. This concept also contributes to the formation of potential autonomy of music. Different from the Cartesian body-mind dichotomy, Rameau’s aesthetic of Instinct demands the combined effort of thinking and sensing, which function in the same mind and interact with Corps Sonore. The type of Expression thus made, according to Carl Dahlhaus's three categories (Auslosung, Dastellung, Ausdruck), exists between the Representation of Affect and the particular kind of Trigger. The practical effect of Instinct Aesthetics shows itself in the artistic quality which it adds to the Corps Sonore. This harmonious interdependence of raison and sentiment is what Rameau tries to present in his Observations sur notre instinct pour la musique et sur son principe.