阿多尔诺作为法兰克福学派的代表理论家从美学高度提出音乐贯彻着艺术的社会批判原理,但没有区别阐述纯音乐和非纯音乐——尤其是只呈现乐音运动形式的纯音乐实现社会批判功能时的特殊情形。本文即是对阿多尔诺这一未竟论题的展开:首先指出纯音乐要生成为音乐美,有赖于人的情感和精神的参与,驳斥了以汉斯立克为代表的纯形式主义音乐美学的片面性,为论证纯音乐具有社会批判内容奠定了基础;之后,按照音乐社会批判功能的从强到弱,从明显到隐蔽,从直接到间接之次序,结合具体音乐家和音乐作品,对十九到二十世纪西方纯音乐的社会批判性做了分类阐述,详细论证了西方纯音乐如何实现其社会批判功能的各种具体情形;最终得出纯音乐以其微妙曲折的方式昭示出未知的自由王国,而对现存社会秩序提出无言批判的结论,从而为阿多尔诺的美学批判理论体系填补了疏漏的环节。 Adorno, as a Frankfurt school representative theorist, proposed from aesthetics that music carries out the social criticism of art, but there is no difference between pure music and non-pure music - especially the pure music which only presents the form of musical movement to realize social criticism When the special circumstances. This paper is Adorno unfold this unfinished thesis: first pointed pure music to be generated as musical beauty, emotional and spiritual participation depends on people, in order to refute the Hanslick as the representative of pure musical aesthetic formalism the one-sidedness, is proof of pure music has laid the foundation for social critique content; later, according to the social critical function in the music from strong to weak, from the obvious to the subtle, from indirect to direct the order, combined with the specific musicians and music, for ten nine to twenty centuries of Western social criticism pure music made elaborate classification, demonstrates in detail how various specific circumstances Western Instrumental achieve its social critical function; eventually come to pure music with its twists and turns subtle way clear to the unknown Free kingdoms, and the conclusion of the speechless criticism of the existing social order, thus filling Adorno’s aesthetical critical theory system of missing links.