摘要
在福柯的考察中,直到16世纪末,西方知识的结构是由“相似”原则主导的,这种建构原则被他称之为“相似性”知识型,15、16世纪的思想处处迷恋相似性,寻找相似性。当然,对相似性的迷恋恐怕不是15、16世纪的专利,相似性在中世纪的知识建构中所起的作用恐怕不亚于文艺复兴时期。相似性主要包括“适合”“仿效”“类推”“交感”四种形式。基于“相似性”视野观察中世纪音程性和声,从奥尔加农到经文歌,均来自对圣咏的附加,其中的和声适应于相似性中的仿效、类推,新艺术时期的音程性和声,适应于相似性中的协调、适合与交感。
In Michel Foucault’s investigation,until the end of the 16th century the structure of western knowledge was dominated by the principle of"similarity",which he called"similarity"knowledge.In the 15th and 16th centuries intellectuals sought heavily and were fascinated with similarity.Of course,the fascination with similarity probably did not exclusively belong to the 15th and the 16th centuries and similarity in the medieval knowledge construction may have played a no less role than in the Renaissance.Similarity mainly includes four forms of"fit","imitation","analogy"and"sympathia".Based on the"similarity"field of vision to observe medieval interval harmony,from organum to scriptural songs,one may conclude that they all come from the addition of chants,in which harmony adapts to imitation in similarity,analogy,and interval harmony in Ars Nova period.
出处
《南京艺术学院学报（音乐与表演版）》
CSSCI
2019年第2期18-27,I0002,共11页
Journal of Nanjing Arts Institute:Music & Performance
关键词
相似性知识型
适合
仿效
类推
交感
音程性和声
附加
奥尔加农
经文歌
新艺术
similarity knowledge
fit
imitation
analogy
sympathia
interval harmony
addition
organum
scriptural songs
Ars Nova
