音樂與時間

音樂研究學者 Lewis Rowell 覺得新時間性本體論的地位，無法很清楚可去提 供給哲學家持續評論的時代。因此，在《音樂的時間》 一書中可見到 Rowell 認 為的三種比較可以被測試新時間性的方式 :

(一) 藉由「聆聽的經驗」去分析他所暗示到的部分。

(二) 時間性繼續不只是為了現今的音樂提供了可行的範例，也給下一個二十年提 供可行的範例。在這當中，它將渉及到理論以及實踐這兩部分。

(三) 最切實的任務是讓我們可以藉著所對應著音樂的演出曲目而嘗試在他們必 須去興起的十九世紀音樂中所創造一個開始的現在。特別去注意到貝多芬晚期的 音樂，有許多時間的異例已經被標示在那裡(尤其是曖昧、時間的延伸、中斷，

以及其他在後期的弦樂四重奏的時間反常裡可窺先一二)。⁸²

從上述對於 Rowell 的認知中可以見到他與論著作者一致對聆聽經驗的強 調，即使是在新時間性的概念下所強調的聆聽經驗，仍是選用了調性音樂中貝多 芬的作品作為一時間異例作為展現的例子，在調性音樂語言的框架中可以較清楚 看到新時間性對應在聆聽經驗中的一套認知方式。

相關於音樂與時間議題中的另一方面，特別引用了從時事的問題作為時間經 驗的例子，可說是某種總是「現在」/ 存有的空間性質。故此，在時間的二元性 裡引用了 Arnold Hauser (1892-1978) 相關於作為反對所變成的存有的描述 :

我們時代所存在的時間經驗，尤其對於瞬間的注意，讓我們找到了自己 – 這是一種對於當下的注意。當代人全神貫注於其所屬當代的世界，就像是中世紀 的人類處在一種世俗的以及在一種烏托邦的某種遠見裡，期待著啟蒙運動的人

82 Lewis Rowell,“Reviewed Work : The Time of Music: New Meanings, New Temporalities, New Listening Strategies by Jonathan D. Kramer, ” Journal of Music Theory, Vol. 34, No. 2 (Autumn, 1990), 358.

類。任何都是時事的問題，每件事都屬於當今人類特定價值的當下瞬間，因此僅

詩人波特萊爾（Charles Baudelaire,1821-1867）在作品《現代生活的畫家》（The Painter of Modern Life, 1863）中，曾表達自己藉繪畫、現代經驗與「閒人」(Monsieur G.) 個性觀點之表述。而波特萊爾的「 現代性」指的就是由周邊、瞬間、偶然

83 “The time experience of our age consists above all in an awareness of the moment in which we find ourselves – an awareness of the present. Modern man is absorbed in his contemporary world as medieval man was in an other-worldly and the man of the Enlightement in a utopistic forward-looking expectancy.

Everything topical, everything belonging to the present moment is of special value to the man of today, and therefore the mere fact of simultaneity acquires a new significance in his eyes. The discovery that, on the one hand, the same man experiences so many different and irreconcilable things in one and the same moment, and that, on the other hand, the same things are happening at the same time in so many places, this universalism which modern technics have created and of which modern means of communication make us conscious, is perhaps the real source of the new conception of time and the abruptness with which modern art describes temporal phenomena.”引述自 Kramer, 17-18.

作者想要去強調的新時間性，這樣子的新時間性更是與現代藝術描述時間現象的

84 “That analytical component of existential tension which we describe as “being”corresponds to … permanent certainties. Our instinctual drives in this regard find expressions in scientific and religious laws and in philosophies of being which see the strategy of existence in unchanging continuities. The postulate of an instinctual drive for the identification of time with permanence...claims that we instinctively seek permanent relationships and that we are fulfilled when we believe to have identified them…. That analytical component of the existential tension which we call “becoming”satisfies the demands of intrinsic unpredictability. In the broadest context, the play of the un predictable is expressed in the contingencies of science, religious, and the arts, and in philosophies of becoming which maintain that the strategy of existence resides in un predictable qualities. The postulate of an instinctual drive for the identification of time with the unpredictable elements of experience…claims that we instinctively seek the unexpected and have a sense of completeness when we believe we have identified it. Thus the specific ways in which we slice temporality into being and becoming, or its corollary, the way we see the world as made up of stationary and creative processes, are characteristics of the human mind. Yet, metaphyisical and methodological solipsism is removed if we remember that the existential tension of the mind, of which the nomothetic [i.e., nonlinear]

線性與非線性於聆聽經驗中作為思維音樂的兩條主要軸線，然 Fraser 在其存 有張力的分析成份描述中，分別在「存有」(being) 以及「變成」(becoming) 去描 述聆聽經驗處在於存有張力的分析成份中的音樂感知，所以當我們用時間性切入 到存有以及變成的兩種特異方式或它的推論裡時，Fraser 認為我們看到的固定以 及創作過程所組成世界的方式即是人類心智的特性，聆聽者僅僅只要記得心智中 所存在的張力，再以聆聽經驗中作為思維音樂的兩條主要軸線，線性與非線性為 根據，因此，Fraser 所認為在這樣的一個標準之下得以讓一個衝突著內在天性不 可改變終止的開放體系裡處在最優勢的狀態。

and generative [i.e., linear] aspects of time are projections, is only one level, albeit the most advanced one, in an open-ended hierarchy of unresolvable conflicts immanent in nature. ”引述自 Kramer, 18-19.