后现代音乐及其美学问题研究

发布时间：2018-01-19 01:19

本文关键词： 后现代音乐还原抽象聆听声音感觉聚块　出处：《上海音乐学院》2010年博士论文　论文类型：学位论文

【摘要】： 将后现代看做一种思维方式,从接受角度针对后现代思维方式下的音乐创作特征以及创作观念进行研究,进而探讨后现代思维方式下的音乐创作所凸现出来的美学问题,提出抽象聆听作为后现代音乐的接受策略。本文主要从三个方面对后现代音乐及其美学问题进行研究：首先,对后现代思维方式的历史观、美学观以及方法观作较为深入的探讨,认为后现代并非其表象显现的反传统、反历史、反美学、“什么都可以”的文化现象,后现代有其自身的理论基础,它表现为一种思维方式的转变。通过研究进而厘清对后现代现象的误解和误用。其次,对20世纪50年代之后受到后现代思维方式影响的音乐创作方式以及观念进行研究,进而凸显其美学问题。这一时期的音乐发掘新音响和新观念,使得音乐作品总是突兀在界限之上,挑战音乐之界限、作品之界限、生活与艺术之界限。在音乐的创作前提上,这一时期的音乐创作更为注重接受环节,现象学的方法对这一时期的音乐产生重要影响,创作往往建基于对某种新音响的聆听经验以及聆听观念之上。在音乐创作方式上,超越传统艺术中的质料与形式对立之关系,拆解了形式在这一关系中的中心地位,在音乐作品中将作为质料的感觉材料极度突出,并且利用声音感觉材料自身特性的发展来结构整个作品,诉诸于质料与形式同一的“还原”策略。在音乐的创作观念上,作曲家诉诸于后现代“他者”逻辑,即阐述这一时期拼贴音乐中显现出来的对待历史、传统以及多元主义的态度。最后,探讨后现代思维方式影响下的音乐接受的美学问题。由于后现代思维方式下的音乐创作,超越了原有形式和质料之间的对立关系,试图摆脱形式因的控制,极度突出作为“物”的存在的质料因,因此本文认为,后现代思维方式下的音乐创作诉诸于对声音音响的物因素之聆听,即摆脱音乐的对象化姿态,将声音音响作为一种存在论意义上的存在者,聆听声音本身的图案,即抽象聆听。而抽象聆听必然导致对声音感觉的极度关注,并提出声音感觉聚块的范畴,进而将声音感觉聚块的研究放置在声音感觉物与感官力之间的关系中去探讨,认为声音感觉的意向性的发生并不仅仅是由人之意识的投射所决定的,声音感觉材料本身也对声音感觉的意向性发生具有给予性,可以说声音感觉是被声音感知物给予的。传统音乐与后现代音乐由于组织方式不同,导致声音感觉产生不同的意向活动。通过三方面的探讨,本文认为后现代问题是一个关于界限的话语,这种话语是一种动态地生成过程,它贯穿于整个后现代现象之中。后现代音乐总是突兀在各种关于界限的话语之上。
[Abstract]:The postmodernism is regarded as a way of thinking, and the characteristics of music creation and the creative concept under the mode of postmodern thinking are studied from the perspective of acceptance. Then it discusses the aesthetic problems of music creation under the mode of postmodern thinking. Abstract listening is proposed as the acceptance strategy of postmodern music. This paper mainly studies postmodern music and its aesthetic problems from three aspects: first, the historical view of postmodern thinking mode. The aesthetic view and the method view are deeply discussed, and the postmodernism is not the cultural phenomenon of anti-tradition, anti-history, anti-aesthetics and "anything can be", which is not the appearance of postmodernism. The postmodernism has its own theoretical basis. It shows as a change of thinking mode. Through the study to clarify the misunderstanding and misuse of post-modern phenomenon. Secondly. After 1950s, the author studies the music creation mode and the idea which is influenced by the postmodern thinking mode, and then highlights its aesthetic problem. The music of this period excavates new sound and new idea. Music works are always above the boundaries, challenging the limits of music, the boundaries of works, life and art. On the premise of music creation, the music creation of this period pays more attention to the acceptance link. Phenomenological methods have an important impact on the music of this period, and creation is often based on listening experience and listening ideas to a new sound, and on the way of music creation. Beyond the relationship between material and form in traditional art, it disassembles the central position of form in this relationship, and will be extremely prominent in music works as the material of feeling material. And using the development of sound sensory material to construct the whole work, and resort to the "restore" strategy of the same material and form. In the music creation concept, the composer resort to the post-modern "other" logic. That is to say, this period of collage music emerged in the treatment of history, tradition and pluralism attitude. Finally. This paper probes into the aesthetic problem of music acceptance under the influence of postmodern thinking mode. Because of the music creation under postmodern thinking mode, it surmounts the antagonistic relation between the original form and the material, and tries to get rid of the control of the formal cause. Extremely outstanding as the "thing" of the existence of the material cause, so this paper believes that the post-modern mode of thinking in music creation resort to the sound of sound listening to the physical factors, that is, to get rid of the music of the objectified posture. Taking sound sound as an existential being, listening to the pattern of sound itself is abstract listening, and abstract listening must lead to extreme attention to sound feeling, and put forward the category of sound sensation block. And then put the research of the sound sensory block into the relationship between the sound sensation and the sensory power, and think that the intentionality of the sound sensation is not only determined by the projection of the human consciousness. Sound sensing material itself also gives meaning to sound sensation. It can be said that sound perception is given by sound perception. Traditional music and postmodern music are different from post-modern music because of their organization. Causes the sound sense to produce the different intention activity. Through the discussion of three aspects, this paper holds that the postmodern problem is a discourse about boundaries, which is a dynamic process of generation. It runs through the whole postmodern phenomenon.
【学位授予单位】：上海音乐学院
【学位级别】：博士
【学位授予年份】：2010
【分类号】：J601

【参考文献】