音乐美的探索历程管窥

发布时间：2018-07-26 14:40

【摘要】：音乐美学是美学的一个分支，专门对音乐的内容和形式加以探讨，，以音乐的表现力和表现方法等问题为自己的课题。音乐美学有别于音乐理论之处在于：“音乐美学并不过多地研究各个音乐作品的创作与结构问题，它的研究对象……是在于以作品为一个整体，根据作品所表现的美、魅力、丑或崇高等许多范畴，找出音乐对人类精神的反映。” 奥地利音乐美学家、批评家汉斯立克 1854 年发表《论音乐的美》，提出在研究音乐美学问题时应该特别关注音乐艺术的特殊性问题。汉斯立克认为，“审美探讨的研究对象首先是美的物体，而不是感受着的主体。” 要求对美取得客观的认识，把美看成是“不变的客观事实”，认为事物的客观的美同鉴赏者的主体感受无关。德国音乐学家费利克斯·卡茨在其于 1929 年编写出版的《音乐美学的主要流派》一书中，将十八世纪末叶康德以来德国音乐美学划分为两个相互对立的流派，即他律美学和自律美学。他律美学认为，制约着音乐的法则和规律是来自音乐之外的，也就是说，音乐是受某种外在规律决定的；而自律美学则认为，制约着音乐的法则和规律不是来自音乐之外，而是在音乐自身当中。 19 世纪后半叶以汉斯立克为代表的形式－自律论，其哲学－美学的直接渊源是康德的美学。康德涉及音乐本质的观念基本上都是他的哲学－美学体系的思辨推演。他认为，正是对象的形式才能与人的想象力和理解力相适应，从而使这想象力与理解力能自由地活动，并形成相互间的和谐合作。美感正是主体的内在的想象力与理解力与外在对象的形式之间产生一种内外契合时所体验到的那种精神愉悦。对浪漫主义的他律论音乐美学产生深刻影响的是德国哲学家黑格尔的音乐观。他于 1817 年整理发表的美学讲座的讲稿《美学》为浪漫主义 - 40 - WP=45 的他律美学从哲学美学上提供了根据。他强调音乐的内容是情感的表现，只有情感才是音乐所要据为己有的领域。黑格尔对情感有自己的理解，它是一种抽象的自我意识，是一种所谓“完全无对象性的内心生活”。由汉斯立克的《论音乐的美》开始，音乐美学界开始形式与内容、自律与他律的争论，自此，各个美学流派都试图用自己的理论来解释音乐审美活动中的各种现象与问题。然而，汉斯立克纯粹的客观论将音乐与人完全割离，杜夫海纳虽然从格式塔心理学受到启示，却并未摆脱汉斯立克对于音乐的形式内容一元论，苏姗·朗格尽管力图调和自律论与情感论之间的矛盾，然而却陷入了自身的理论冲突，其理论中格式塔心理学的应用亦未贯彻始终。音乐艺术由于其自身的特殊性质，例如它同抽象的、理性的观念以及具象的客体形象保持着疏远的关系，而同情感、情绪等心理体验有着密切的联系，因此在揭示其本质时，借鉴当代心理学的成果，采用心理学的方法，就理所当然地成为一个重要途径。因此格式塔心理学等心理学理论的应用是十分必要而且有效的。然而，音乐毕竟是一种复杂的社会文化现象；对音乐的心理体验毕竟是一种在特定社会历史条件下的文化产物和文化行为，其内涵极为复杂和丰富。忽视音乐艺术的社会历史内涵，而将它只作为一种心理现象去审视，是难以真正全面揭示这门艺术的独特本质的。认知美学是建立在现代认知科学基础之上的新型的科学美学形态。从认知科学的角度出发，认知美学认为要对事物的形式进行知觉进而审美需要两个条件：知觉模式和完全的抽象思维能力。前者使人能通过对特定事物特定外在样态的知觉而产生相对稳定的情感反应，后者则使人能在大脑中对事物的形式与内容加以区分。审美活动的认知方式虽然是非功利的，认知所凭借的工具中介即知觉模式却是在功利基础上形成的。知觉模式在功利基础上的建立可有两种方式：一是经由长期的发展过程，逐渐地、缓慢地积累而成；一是在短时间 - 41 - WP=46 内由于功利价值的强化作用迅速形成。这又表现为三种情形或三种途径：进化遗传过程中形成的生存性知觉模式，较长期、稳定的社会生活造成的一般文化性知觉模式，以及由具体社会存在造成的特定社会性知觉模式。人们通常所说的音乐美指的是音乐给人带来美感，人们在欣赏音乐时产生了无功利的快感，因此将这音乐称为是美的。汉斯立克认为音乐的美同鉴赏者的主体感受无关的客观论观点是立不住脚的；正是由于音乐使审美主体感到了无功利知觉关系下的愉悦，它才被人们认为是美的。格式塔心理学认识到了这一点，人们认为某个事物是美的是因为客观事物所具有的形式结构与审美主体的知觉结构相吻合，即所谓“异质同构”。因此格式塔心理学能够解释为什么有些音乐能够使大多数人都感到审美的愉快。然而只看到人的自然属性，忽略人的社会属性，致使格式塔学派不能回答动物是否能对音乐审美以及人与人之间相异的音乐审美趣味等问题。人的现实的审美知觉模式是统一而具体的。其中的先天成分成为人类所共有的成分；文化性知觉模式成分也可以在一定文化圈内超越民族、阶级的差别，具有一定的共同性；而社会性知觉模式成分则直接受到社会现实生活、阶级
[Abstract]:Music aesthetics is a branch of aesthetics, which explores the contents and forms of music.
The problem of music's expressive power and expression is a topic of its own. Music aesthetics is different from music theory.
Music aesthetics does not study much about the creation and structure of music.
Its object of study is to take works as a whole, according to the beauty and charm of works.
Many categories of ugliness or worship, find out the reflection of music on human spirit.
Hanslick, a Austria music aesthetic and critic, published in 1854 "on the beauty of music".
When studying musical aesthetics, we should pay special attention to the particularity of musical art. Hanslick
It is believed that "the object of aesthetic inquiry is the object of beauty, not the subject."
Seek an objective understanding of beauty and regard beauty as an "unchangeable objective fact".
The beauty of view has nothing to do with the subjective feelings of the appreciators.
Felix Katz, a German musicologist, wrote music aesthetics in 1929.
In the book, Maiba Yasunori's musical aesthetics has been divided into two parts since eighteenth Century.
The opposite schools are heteronomy aesthetics and self discipline aesthetics.
Rules and laws are derived from music, that is to say, music is determined by certain external laws.
Self discipline aesthetics believes that the laws and laws that restrict music are not from music, but from music.
In the music itself.
In the latter half of the nineteenth Century, the form of autonomy, represented by Hanslick, was philosophic and aesthetical.
The direct origin is Kant's aesthetics. Kant's ideas about the nature of music are basically his philosophy.
He thinks that it is the form of the object and the imagination and understanding of human beings.
The adaptation of force enables the imagination and understanding to move freely and form mutual harmony.
Cooperation is the emergence of the internal imagination and understanding of the subject and the form of external objects.
A kind of spiritual pleasure that is experienced when it comes to internal and external fit.
Hagel, a German philosopher, has a profound influence on the romanticism of heteronomy and aesthetics of music.
In his 1817 lecture on aesthetics, "Aesthetics" is romanticism.
- 40 -
WP=45
The heteronomy aesthetics provides a basis for philosophy and aesthetics. He emphasizes that the content of music is the expression of emotion.
Only emotion is the domain that music should occupy. Hagel has his own understanding of emotion.
It is a kind of abstract self consciousness, and it is a so-called "completely non objective inner life".
Beginning with Hanslick's theory on the beauty of music, the music aesthetic circle began its form and content.
Since the controversy between law and heteronomy, all schools of aesthetics have tried to explain music examination with their own theories.
All kinds of phenomena and problems in American activities. However, Hanslick's pure objectivism put music and people through.
Duff and Hana, though inspired by Gestalt psychology, did not get rid of Hanslick.
In the form of music monism, Susan Langer tried to reconcile the theory of autonomy and emotion.
However, it has been caught up in its own theoretical conflict.
Not carried out all the time.
Because of its special characteristics, such as its abstract and rational ideas, music art and
The concrete object image maintains an estranged relationship, and is closely related to feelings, emotions and other psychological experiences.
Therefore, in revealing its essence, we should draw on the achievements of contemporary psychology and adopt the side of psychology.
Law, of course, becomes an important way. Therefore, Gestalt psychology and other psychological theories
The application is very necessary and effective.
However, after all, music is a complex social and cultural phenomenon; after all, the psychological experience of music is after all.
It is a cultural product and cultural behavior under specific social and historical conditions. Its connotation is extremely complicated.
Rich. Ignore the social and historical connotation of music art, and regard it as a psychological phenomenon.
It is difficult to fully reveal the unique essence of this art.
Cognitive aesthetics is a new form of scientific aesthetics based on modern cognitive science.
From the perspective of cognitive science, cognitive aesthetics believes that we need to perceive the form of things and then have aesthetic needs.
There are two conditions: perceptual mode and complete abstract thinking ability.
The perception of a specific external form produces a relatively stable emotional response, while the latter makes it possible for the human brain.
The form and content of things are distinguished from the contents.
Although the cognitive way of aesthetic activity is not utilitarian, the medium of perception is perception.
Patterns are formed on the basis of utility. There are two ways to build a perceptual pattern on the basis of utility.
Style: first, gradually accumulated slowly through long-term development process; first, in a short time.
- 41 -
WP=46
Because of the strengthening effect of utilitarian value, it is formed rapidly in three situations or three ways:
The survival perceptual pattern formed in the process of evolutionary heredity is caused by stable social life over a long period of time.
The general cultural perception mode and the specific social perception pattern caused by specific social existence.
Music is usually referred to as the beauty of music, and when people appreciate music.
It produced a sense of utilitarian delight, so it was called beautiful. Hanslick thought the beauty of music.
The objective view which has nothing to do with the subjective feelings of the appreciative person is untenable.
The American subject feels pleasure without the utilitarian perception, which is considered beautiful by people. Gestalt
Psychology recognizes this fact. People think that something is beautiful because the objective things are possessed.
The formal structure coincides with the perceptual structure of the aesthetic subject, namely the "heterogeneous isomorphism".
The psychology of pagoda can explain why some music can make most people feel happy.
However, only seeing the natural attributes of human beings and neglecting the social attributes of human beings, the Gestalt school can not answer them.
Whether animals can appreciate music aesthetics and the different music aesthetic tastes between people and so on.
The aesthetic perception mode of human reality is unified and concrete. The innate component of it becomes human.
The components of cultural perception can also transcend nationality and culture in a certain cultural circle.
The difference of grade has certain commonality, while the pattern of social perception is directly influenced by society.
Real life, class
【学位授予单位】：吉林大学
【学位级别】：硕士
【学位授予年份】：2004
【分类号】：J601

【相似文献】