一提起布梭尼（Ferruccio Busoni, 1866-1924)，愛樂者要不是想到他改編了巴赫的《d小調夏康舞曲》(Bach's Chaconne in Dminor for solo violin)，就是津津樂道於他那多才多藝的文化人身份。但我們似乎忽略了他曾經發表過發人深省的新音樂美學創見。今天，布梭尼的「音樂一體」（die Einheit der Musik)學說，雖不至於到乏人問津的地步，但相較於「鋼琴家」布梭尼、「作曲家」布梭尼，顯然「美學家」布梭尼的待遇，與前兩者判若雲泥。
本文擬從「年輕古典性」（Junge Klassizitãt)與「音樂自由」（die Freiheit der Musik)兩大理念出發，試著勾勒、描繪布梭尼的美學思想，希望藉此得以論證：布梭尼之所以被「歷史遺忘」，原因在於其有意、無意地想要「遺忘歷史」：他主張「音樂一體」，這種獨一無二、不生不滅的永恆形而上理念，本身不具備歷史性一而正是缺乏這種歷史意識，使得原本身為新音樂要角、曾經在廿世紀初發光發熱的布梭尼，在過世之後，終於敵不過歷史的凜冽、無情，而失去了光澤，被歷史所遺忘。

At the mention of Ferruccio Busoni (1866-1924), philharmonics will either think of his transcription of Bach’s Chaconne in D minor for solo violin or take delight in talking about his versatile intellectual identity. But that he had once published a thought-provoking new musical aesthetic idea seems to be often ignored. Today, while Busoni’s “die Einheit der Musik” doctrine has not been left to moulder, the esthetician Busoni is apparently treated as being as far removed from the pianist Busoni and the composer Busoni as the earth is from the heavens.
Beginning from “die Freiheit der Musik” and “Junge Klassizität,” this paper tries to sketch out and depict Busoni’s aesthetics, hoping to demonstrate that the reason why Busoni was “forgotten by history” was that he wanted to “forget history,” intentionally or unintentionally. He advocated “die Einheit der Musik,” but this unique and eternal metaphysical philosophy, itself born immortal, was not imbued with historicity; it was the lack of historical consciousness that made Busoni, who was originally a key player of “Neue Musik” and who shone in the early twentieth century, finally unable to match the coldness and ruthlessness of history, lose his luster, and be forgotten by history after death.