音乐解释学导言
发布时间：2018-07-25 20:11
【摘要】： 尽管对作曲家本人来说，音乐是非常具体的，具体到了比语言更明晰、更准确、更精微的地步。而对解释者(演奏者和欣赏者)来说，音乐表现的形象、营造的意境和表达的感情则是不具体的、抽象的，这样，便在创作、表演和欣赏之间留下了极大的解释空间：在对待同一音乐作品的时候，不同的人有不同的甚至相反的理解和解释。正是因为对音乐作品解释的多样性，使很多人对音乐感到高深莫测、扑溯迷离。因而，，音乐比其它文艺形式更呼唤解释学的支持。 本论文是笔者撰写中的专著《音乐解释学》的导言部分：绪论，概述了解释学的发展及建立音乐解释学的必要性与可行性；第一章“音乐解释的基础”，论述欣赏者解释音乐的途径：乐音与原型的相似性及类比、经验；第二章“音乐解释的条件、手段”，阐明解释者的乐感和所受的音乐教育程度不同，必然导致对音乐作品的解释不同；第三章“影响音乐解释的主观因素”，阐述心境、想象、趣味、引导等因素对具体解释音乐作品时的制约与影响。 结论：音乐解释学对研究音乐这一既非空间性又非语义性的特殊艺术形式有巨大意义。
[Abstract]:Although for the composer himself, music is very specific, more specific than language, more accurate, more subtle. And for the interpreter (performer and viewer), the image, the artistic conception and the emotion created by the music are unconcrete and abstract, so that they are creating. There is great room for explanation between performance and appreciation: different people have different or even opposite interpretations when dealing with the same music. It is because of the diversity of interpretations of music that many people are baffled by music. Therefore, music calls for the support of hermeneutics more than other literary forms. This thesis is the introduction of the author's monograph "Music Hermeneutics": introduction, which summarizes the development of hermeneutics and the necessity and feasibility of establishing music hermeneutics. This paper discusses the approaches to music interpretation by appreciators: the similarities and analogies between musical sounds and archetypes, experience, and the second chapter, "conditions and means of music interpretation", to clarify that the interpreters have different musical feelings and different levels of music education. The third chapter, "subjective factors that influence the interpretation of music", expounds the restriction and influence of mood, imagination, interest, guidance and other factors on the concrete interpretation of music works. Conclusion: music hermeneutics is of great significance to the study of music as a special form of art which is neither spatial nor semantic.
【学位授予单位】：四川师范大学
【学位级别】：硕士
【学位授予年份】：2004
【分类号】：J60
本文编号：2144944
[Abstract]:Although for the composer himself, music is very specific, more specific than language, more accurate, more subtle. And for the interpreter (performer and viewer), the image, the artistic conception and the emotion created by the music are unconcrete and abstract, so that they are creating. There is great room for explanation between performance and appreciation: different people have different or even opposite interpretations when dealing with the same music. It is because of the diversity of interpretations of music that many people are baffled by music. Therefore, music calls for the support of hermeneutics more than other literary forms. This thesis is the introduction of the author's monograph "Music Hermeneutics": introduction, which summarizes the development of hermeneutics and the necessity and feasibility of establishing music hermeneutics. This paper discusses the approaches to music interpretation by appreciators: the similarities and analogies between musical sounds and archetypes, experience, and the second chapter, "conditions and means of music interpretation", to clarify that the interpreters have different musical feelings and different levels of music education. The third chapter, "subjective factors that influence the interpretation of music", expounds the restriction and influence of mood, imagination, interest, guidance and other factors on the concrete interpretation of music works. Conclusion: music hermeneutics is of great significance to the study of music as a special form of art which is neither spatial nor semantic.
【学位授予单位】：四川师范大学
【学位级别】：硕士
【学位授予年份】：2004
【分类号】：J60
【引证文献】
相关博士学位论文 前1条
1 徐昭宇;演奏型态的分析与音乐意义的追索[D];上海音乐学院;2009年
相关硕士学位论文 前5条
1 周志平;羌族“瓦尔俄足”女性歌舞音乐文化研究[D];中央民族大学;2011年
2 陈长链;产品设计中的音乐感研究[D];湖南大学;2008年
3 王欢;拉赫玛尼诺夫《第二钢琴协奏曲》的演奏分析[D];东北师范大学;2009年
4 覃岚;解释学视野中的新闻接受[D];湘潭大学;2009年
5 王旭军;歌剧《原野》音乐音响之表现性的三度解构[D];天津音乐学院;2010年
本文编号：2144944
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