Please use this identifier to cite or link to this item:
https://ah.lib.nccu.edu.tw/handle/140.119/87358| DC Field | Value | Language |
|---|---|---|
| dc.contributor.advisor | 沈清松 | zh_TW |
| dc.contributor.advisor | Shen, Vincent | en_US |
| dc.contributor.author | 張紹乾 | zh_TW |
| dc.contributor.author | Chang, Shao-chi`en | en_US |
| dc.creator | 張紹乾 | zh_TW |
| dc.creator | Chang, Shao-chi`en | en_US |
| dc.date | 1996 | en_US |
| dc.date.accessioned | 2016-04-28T05:25:38Z | - |
| dc.date.available | 2016-04-28T05:25:38Z | - |
| dc.date.issued | 2016-04-28T05:25:38Z | - |
| dc.identifier | B2002002725 | en_US |
| dc.identifier.uri | http://nccur.lib.nccu.edu.tw/handle/140.119/87358 | - |
| dc.description | 碩士 | zh_TW |
| dc.description | 國立政治大學 | zh_TW |
| dc.description | 哲學系 | zh_TW |
| dc.description | 80154002 | zh_TW |
| dc.description.abstract | 本篇論文所討論的核心是:新音樂是否可能的問題.在處理這個問題時,藉由阿多諾對荀貝格和斯特拉溫斯基的對比,來了解阿多諾心目中對新音樂的判準.阿多諾的討論經由\"調性和無調性\",\"主體和客體\",\"傳統音樂和新音樂\",\"真實和虛假\"等對比來突顯他的論點之後,再經由檢視阿多諾判準的有效性,來討論荀貝格和斯特拉溫斯基二人對新音樂的貢獻,以及他們需要修正的地方. | zh_TW |
| dc.description.tableofcontents | 第一章導論----------1\r\n第一節研究動機----------1\r\n第二節定位阿多諾----------3\r\n第三節文獻回顧----------5\r\n第四節研究方法----------7\r\n第二章新音樂的哲學基礎----------11\r\n第一節何謂新音樂----------11\r\n第二節荀貝格所涉及的問題----------13\r\n第三節斯特拉溫斯基----------20\r\n第四節新音樂哲學的出路----------26\r\n第三章阿多諾的音樂社會學----------33\r\n第一節論流行音樂的兩個面向----------33\r\n第二節音樂的異化----------41\r\n一、唱片----------41\r\n二、簡論黑格爾對音樂的看法----------44\r\n三、阿多諾和班雅明對複製的看法----------47\r\n四、場域與音樂----------49\r\n五、唱片製造的歷程----------50\r\n第三節以阿多諾的理論分析台灣唱片工業----------57\r\n第四節結論----------59\r\n第一節研究成果總結----------59\r\n第二節限制與展望----------60\r\n參考書目----------63 | zh_TW |
| dc.source.uri | http://thesis.lib.nccu.edu.tw/record/#B2002002725 | en_US |
| dc.subject | 阿多諾的音樂哲學 | zh_TW |
| dc.subject | 新音樂 | zh_TW |
| dc.subject | 音樂社會學 | zh_TW |
| dc.subject | 音樂的文化工業 | zh_TW |
| dc.subject | 異化的音樂 | zh_TW |
| dc.subject | Adorno`s philosophy of music | en_US |
| dc.subject | New music | en_US |
| dc.subject | Sociology of music | en_US |
| dc.subject | Musical culture industry | en_US |
| dc.subject | Alienation of music | en_US |
| dc.title | 阿多諾的音樂哲學研究 | zh_TW |
| dc.title | Adorno`s Philosophy of Music | en_US |
| dc.type | thesis | en_US |
| dc.relation.reference | 1 、阿多諾( Adorno )的英語本\r\nA esthetic Theory, trans. C.Lenhart (London, 1984)\r\nAgainst Epistemology, trans. Vi. Domingo (Oxford, 1982;\r\nCambridge, 1983) .\r\nAlban Berg:Masler of the Smallest Link,trans.1.Brand and\r\nC.Hailey(Cambridge, 1991)\r\nThe Culture Industry, ed. J .NLBemstein (Routledge, 1991)\r\nIn Search of Wager, trans.R.Livingstone (London, 1981)\r\nIntroduction to the Sociology of Music, trans. E.B. Ashton(New York, 1976)\r\nThe Jargon of Authenticity, trans. K. Tamowski and F. Will(Londo~1973)\r\nKierkegaard: Construction of the Aesthetic,trans.R. hullot-Kentor(University\r\nof Minnesota, 1989)\r\nMahler:A Musical Physiognomy, trans. E.Jephcott(University of Chicago\r\nPress, 1992)\r\nMinima ,Moralia, trans. E.1ephcott(London, 1974)\r\nNegative dialectics,trans.E.B.Ashton(New york and London, 1973)\r\nNotes to Literature,trans.S. W.Nicholsen(Columbia University Press, 1991)\r\nPhilosophy of lv/orden Alusic,trans.A .G.Mitchill and W. V.Blomster(New\r\nYork and London, 1973)\r\nPrisms,trans.Samuel and Shierry Weber(London, 1967)\r\nQuise unafantasia trans.Rodney Livingstone,London : Verso, 1992.\r\n\r\n2. 阿多諾與他人含著的作品之英譯本\r\nThe Authoritarian Personality, by Adorno et al(New York, 1950)\r\nComposing for the Films, with H.Eisler(New York, 1947)\r\nDialectic of Enlightenment, With Max Horkheimer, trans. J .Cumming(New\r\nYork, 1972;London, 1973)\r\nThe Positivist Dispute in German Sociology by Adorno et al, trans.O.Adey and\r\nD.Frisby(London, 1976)\r\n\r\n3. 收錄阿多祿作品之選集\r\nAesthetics and Politics,ed.New Left Review7afterword by\r\nFJamesom(London, 1977)\r\nCritical Theory and Society:A Reader,eds.S.E.Bronner and\r\nD.M.Kellner(Rontledge, 1989)\r\nThe Essential Frankfurt School Reader,eds.A.Arato and E.\r\nGebhardt,intro.P.Piccone(New York and Oxford,1978)\r\nMass Culture,eds.S.Frith and A. Goodwin(Routledge, 1 990)\r\nRadio Research,eds.P.F.Lazarsfeld and F.Stanton(New York, 1941)\r\nTwentieth Century lv1usic,ed.R.H.Myers(London:John Calder, 1960)\r\n\r\n4. 阿多諾在期刊中的英譯\r\n\"Alienated Masterpiece:The Missa Solemnis\",Telos,28(Summer, 1976)\r\n\"Music and Technique\",Telos, 32(Swnnler, 1977)\r\n\"On the Social Situation of Music\",Telos,3S(Spring, 1978)\r\n\"A Social Critique of Radio Music\",Kenyon Review, Vol.,No.2(spring, 1945)\r\n\r\n5. 其它相關英文參考書\r\nBenjamin,a.(cd),The Problems of Modernity (Routledge,1989)\r\nBenjamin, W., Illuminations( Schocken Books, 1969)\r\nBemstein,lM.,The Fate of Art(polity, 1992)\r\nBernsetein,R.J.( ed),Habermas and Madernity(Polity, 1985)\r\nBloch,Ernst,Essays on the Philosophy of Music,trans.P.Palmer\r\n(Cambridge, 1974)\r\n----The Utopian Function of Art and Literature,trans J.Zipes and\r\nF.Meklenburg(Mt Press, 1988)\r\nB1oomfield,Terry,\"Resisting Songs: Negative Dialectics in Pop\", Popular\r\nMusic,Vol.12,No.1(January,1993)\r\nBottomore,Tom,The Frankfurt School(New York, 1984)\r\nBuck-Morss,Susan The Origin of Negative Dialectics(The Free Press, 1977)\r\n----The Dialectics if Seeing(MIT Press,1989)\r\nBurger,Peter, theory of A vant-Garde,trans.M. Shaw(University of\r\nMinnesota, 1984)\r\nDahlhaus,Carl,Schoenberg and the New .Music,trans.D.Puffett and\r\nA.Clayton(Cambridge,1987)\r\nDurant,A1an,Conditons of Music(Macmillan 1984)\r\nEagleton, Terry, Walter Benjamin(Verso, 1981)\r\n----The Ideology of the Aesthetic(Basil Blackwell,1990)\r\n----Ideology(Verso, 1991)\r\nGriffiths,Paul,The Encyclopaedia of 20th-Century Music (Thames and\r\nHudson, 1986)\r\nHabermas,Jurgen,The Theory of Communicative Action,trans,tiomas\r\nMcCarthy(Beacon Press, 1984)\r\n--The Philosophical Discourse of Modernity,trans. F. Lawrence(M1T\r\nPress, 1985)\r\nHeld, David, Introduction to Critical Theory(University of California\r\nPress,1980)\r\nHorkheimer,Max, Critical Theory, trans .M.1. Q`Connell( Continuum, 1972)\r\nJarneson, fredric,Marxism and Form(Princeton, 1971)\r\n--The Ideologies of Theory Essays 1971-1986(University of Minnesota, 1982)\r\n----Late Marxism (Verso, 1-990)\r\n----postmodernism(Duke University Press, 1991)\r\nJauss,Hans Robert,Aesthetic Experience and Literary Hermeneutics,trans.\r\nMichael Shaw(University of Minnesota, 1982)\r\nJay,Martin,The Dialectical Imagination (Little,Brown and Company, 1973)\r\n----Marxism and Totality(University of California, 1984)\r\n----Adonw(Fontana, 1984)\r\nLeppert, Richard and Susan McClary(eds),Music and Society\r\n(Cambridge, 1987)\r\nMagee,Bryan, Aspects of Wager(Oxford, 1988)\r\nMarcuse,Herbert, The Aesthetic Dimension(Beacon Press, 1977)\r\nMiddleton,Richard, Studying Popular Music, open University Press,1990)\r\nRoberts,David, Art and Enlightenment(University of Nebraska\r\nPress, 1991 )\r\nRoblin,Ronald(ed), The Aesthetics of the Critical Theorists(Edwin Mellen\r\nPress,1990)\r\nRose,Gillan, The Melancholy Science(1vIacnlillan Press, 1978)\r\nSaid,Edward W.,Musical Elaborations(Vintage, 1992)\r\nSchoenberg,Arnold,Style and Idea(philosophical Library, 1950)\r\nSlater,Phil,Origin and Significance of the Frankfurt School(Routledge, 1977)\r\nStirt,P.M.R.,Alax Horknheimer(Harvester Whealshea( 1992)\r\nTar,Zoltan,The Frankfurt School(John Wiley and Sons, 1977)\r\nTran Van Doan, Reason,Rationality,Reasonableness, New York/London :\r\nUniversity Press of America 1989.\r\nWeber,Max,171e Rational and Social Foundations of music, trans.\r\nD.Martindale, 1.Ridede1 and G.Neuwirth(Southern Illinois University,1958)\r\nWellmer, Albrecht,The Persistence ojA1odernity,trans.D.MidgleyMlT\r\npress, 1991)\r\nWolin,Richard, Walter Betijamin(Columbia University Press, 1982)\r\nWurzer, Wilhelm S.,Filming and Judgement(Hmnanities Press, 1992)\r\nSpecial Section on Musico!ogy:Popu!ar musicfrom Adorno to Zappa,\r\nteios,87(sprin& 1991)\r\n\r\n6. 中文參考書\r\n王美珠，漫談系統音樂學，美育月刊第24期( 1992， 6 月)\r\n巴托莫爾，《法蘭克福學派》，廖仁義譯(台北:桂冠， 1991 )\r\n沈清松，《現代哲學論街》， (台北:黎明， 1981 ， 8 月)\r\n----，《解除世界魔咒一一科技對文化的衝擊與展望》， (台北:時報，\r\n1986 )\r\n佩里安德、森，《西方馬克思主義探討》，高話、文貫中、魏章玲譯\r\n(台北;桂冠， 1990)\r\n洪翠娥，霍克海默與阿多諾對「文化工業」的批判(台北;唐山，\r\n1988 )\r\n馬丁﹒傑，《阿多諾》，李健鴻校閱(台北:桂冠， 1992)\r\n馬克﹒杰木乃茲，阿多諾，欒棟/關寶艷譯(台北:遠流， 1990， 4 月)\r\n翁嘉銘，《迷迷之音一蛻變中的台灣流行歌曲》， (台北:萬象，\r\n1996 )\r\n----，《從羅大佑到崔健一一當代流行音樂的軌跡》，(台北:時報，\r\n1992 )\r\n楊小潰，《否定的美學一一法蘭克福學派的文藝理論和文化批評》，(台\r\n北:麥田， 1995)\r\n賣克-阿達利，《噪音:音樂的政治經濟學》，宋素鳳、翁桂堂譯，\r\n(台北:時報， 1995)\r\n詹明信，後現代主義與文化理論，唐小兵譯(台北:當代， 1989)\r\n----- 音樂社會學簡介，美育月刊第26期( 1992， 8 月)\r\n赫伯特﹒馬庫塞，《單向度的人一一發達工業社會意識形態研究》，劃\r\n繼譯(台北:桂冠， 1990)\r\n蔡錚雲，《從現象學到後現代》，(台北:三民， 1955)\r\n廖世奇，《否定辯證法的冒險和拯救》，收錄於甘陽編選的，中國當代文\r\n化意識， (台北:風雲時代， 1989)\r\n劉千美，《現代音樂之「現代性」的美學反省》，《哲學雜音》，第1 1\r\n期， 1995年1 月出版。\r\n霍克海默/阿多爾諾，啟蒙辯證法，洪佩郁/蘭月峰譯(重慶出版社，\r\n1990 ) | zh_TW |
| item.fulltext | With Fulltext | - |
| item.grantfulltext | open | - |
| item.cerifentitytype | Publications | - |
| item.openairetype | thesis | - |
| item.openairecristype | http://purl.org/coar/resource_type/c_46ec | - |
| Appears in Collections: | 學位論文 | |
Files in This Item:
| File | Size | Format | |
|---|---|---|---|
| index.html | 115 B | HTML2 | View/Open |
Google ScholarTM
Check
Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.