音乐感性经验描写研究
发布时间：2018-10-04 18:30
【摘要】： 音乐作品的音响为接受主体的听觉而存在,接受主体用听觉能够把握音响的哪些方面?又如何来进行这些听觉描述?是这些问题在驱动本文进行音乐感性经验描写的研究。 本文研究主要针对接受主体音响审美过程中的音乐感性经验描写对象、音乐感性经验描写主体、音乐审美维度具体设定等方面来展开。全文分为论题理论维度、论题实践维度、论题个案研究及内在三分性等板块,从理论到实践地进行梳理、论证、分析与研究。主要涉及论题概念、相关研究现状、相关直接(间接)理论依据、相关二重性理论、音乐审美维度确定、音乐作品个案研究与审美维度内在关系整合以及论题自我评价等,探索接受主体如何运用聆听音响的直观审美经验感知音乐感性经验、音响在审美维度中的具体表现、针对音乐感性经验展开感性化描写、个案研究中对具体维度的再归纳等问题。 绪论部分通过核心概念“音乐感性经验”的结构层次化论述,试图解析概念要素间的相关性,在简要综述前人研究现状后对论题直接(间接)相关理论进行分别论述,说明了论题理论参照侧重主体论的角度。论题理论维度部分论述感性经验描写的二重性理论认识,其中第一重性说明论题研究的描写对象为音乐感性经验;第二重性说明论题描写是主体对音乐感性经验的感性化描写,同时提出感性化描写的具体实施方式,继而说明音乐感性、理性因素的存在状况及感性化描写重在观照音乐感性因素的观点。论题实践维度部分说明两个审美模态(显喻隐喻综合模态、形而上单向度模态),相对平面化的显喻隐喻综合模态从接受主体审美直觉的倾向性、聆听经验通常较为明显的方面进行维度选择与设定,结合具体音乐例证说明审美维度指标;形而上单向度模态则体现了纵深化的相关审美评价。个案及内在三分性部分首先对作品音响进行相关个案分析,选择与各相关审美维度联系较为紧密的中外音乐作晶(或片断),具体描述聆听过程中音乐感性经验在这些审美维度中的体现,用以说明维度设定的有效性;其次总结了审美维度中潜藏着形而下、形而下与形而上之间、形而上等三分性的特征。结论部分对整个研究过程进行总结性报告,从论题研究总结、论题可持续方法等方面进行说明,重点提出了音乐会乐评写作是感性化描写行之有效的田野方式、乐评写作三逻辑转换的必要性等问题,通过问题意识来推动接受美学观念下的音乐感性经验描写实践。不断发扬音乐美学资源储备下提出问题、思考问题、解决问题的研究本质。 本文在充分尊重前人学术成果基础上,提出二重性理论、审美维度双模态及个别术语等原创性认识,通过“接受主体使用感性的方式进行音乐感性经验描写”的基本认识,为音乐美学论域有关音乐感性经验问题提供一种研究思路和途径。
[Abstract]:The sound of music works exists for the hearing of the subject, which aspects can be grasped by the subject by hearing? And how do you do these auditory descriptions? It is these problems that drive this thesis to study the description of the perceptual experience of music. This paper mainly focuses on the object of musical perceptual experience description, the subject of musical perceptual experience description, the specific setting of musical aesthetic dimension and so on. The full text is divided into theoretical dimension, topic practice dimension, case study and internal tri-section, from theory to practice to sort out, demonstrate, analyze and research. Mainly related to the concept of the topic, related research status, related direct (indirect) theoretical basis, related duality theory, music aesthetic dimension determination, music case study and aesthetic dimension integration, as well as self-evaluation of the topic, etc. This paper explores how to use the intuitive aesthetic experience of listening to sound to perceive the perceptual experience of music, the concrete expression of sound in the aesthetic dimension, and the perceptual description of the perceptual experience of music. Case studies on the specific dimensions of re-induction and other issues. The introduction part attempts to analyze the correlation among the conceptual elements through the hierarchical discussion of the structure of the core concept, "the perceptual experience of music", and discusses the direct (indirect) related theories of the topic after a brief review of the current research situation of the predecessors. This paper explains the theoretical reference to the theory of the subject and focuses on the perspective of the subject theory. The theoretical dimension of the topic discusses the duality theory of the description of perceptual experience, in which the first nature explains that the object of description of the thesis is the musical perceptual experience, the second describes the subject's perceptual description of the musical perceptual experience, and the second describes the subject's emotional description of the musical perceptual experience. At the same time, the paper puts forward the concrete implementation mode of the perceptual description, and then explains the music sensibility, the existence of the rational factor and the viewpoint that the perceptual description focuses on the perception of the musical perceptual factor. In the practical dimension of the topic, two aesthetic modes (metaphorical Synthetical modal, metaphysical unidirectional mode) and the relative flatness of metaphorical Synthetical modal are explained from the tendentiousness of the aesthetic intuition of the recipient. Listening experience is usually more obvious aspects of dimension selection and setting, combined with specific music examples to illustrate the aesthetic dimension indicators; metaphysical unidirectional mode reflects the depth of the relevant aesthetic evaluation. Case and internal three parts of the first work sound related case analysis, Choose the Chinese and foreign music closely related to the relevant aesthetic dimensions as crystals (or segments) to describe the emotional experience of music in the process of listening in these aesthetic dimensions to illustrate the effectiveness of dimension setting; Secondly, it summarizes the metaphysical and metaphysical features of aesthetic dimension. In the conclusion part, the conclusion report of the whole research process is given, and the summary of the research on the topic, the sustainable method of the topic and so on, are explained, and the emphasis is put on the conclusion that the writing of the concert music evaluation is an effective field way of the perceptual description. This paper discusses the necessity of the three logical transformation of music criticism writing, and promotes the practice of musical perceptual experience description under the concept of acceptance aesthetics through the consciousness of question. Carry forward the research essence of problem raising, thinking and problem solving under the resource reserve of music aesthetics. On the basis of fully respecting the previous academic achievements, this paper puts forward the original cognition of duality theory, aesthetic dimension and individual terms, and the basic understanding of "the use of perceptual means of accepting the subject to describe the perceptual experience of music". It provides a way to study the emotional experience of music in the field of music aesthetics.
【学位授予单位】：上海音乐学院
【学位级别】：博士
【学位授予年份】：2009
【分类号】：J601
本文编号：2251429
[Abstract]:The sound of music works exists for the hearing of the subject, which aspects can be grasped by the subject by hearing? And how do you do these auditory descriptions? It is these problems that drive this thesis to study the description of the perceptual experience of music. This paper mainly focuses on the object of musical perceptual experience description, the subject of musical perceptual experience description, the specific setting of musical aesthetic dimension and so on. The full text is divided into theoretical dimension, topic practice dimension, case study and internal tri-section, from theory to practice to sort out, demonstrate, analyze and research. Mainly related to the concept of the topic, related research status, related direct (indirect) theoretical basis, related duality theory, music aesthetic dimension determination, music case study and aesthetic dimension integration, as well as self-evaluation of the topic, etc. This paper explores how to use the intuitive aesthetic experience of listening to sound to perceive the perceptual experience of music, the concrete expression of sound in the aesthetic dimension, and the perceptual description of the perceptual experience of music. Case studies on the specific dimensions of re-induction and other issues. The introduction part attempts to analyze the correlation among the conceptual elements through the hierarchical discussion of the structure of the core concept, "the perceptual experience of music", and discusses the direct (indirect) related theories of the topic after a brief review of the current research situation of the predecessors. This paper explains the theoretical reference to the theory of the subject and focuses on the perspective of the subject theory. The theoretical dimension of the topic discusses the duality theory of the description of perceptual experience, in which the first nature explains that the object of description of the thesis is the musical perceptual experience, the second describes the subject's perceptual description of the musical perceptual experience, and the second describes the subject's emotional description of the musical perceptual experience. At the same time, the paper puts forward the concrete implementation mode of the perceptual description, and then explains the music sensibility, the existence of the rational factor and the viewpoint that the perceptual description focuses on the perception of the musical perceptual factor. In the practical dimension of the topic, two aesthetic modes (metaphorical Synthetical modal, metaphysical unidirectional mode) and the relative flatness of metaphorical Synthetical modal are explained from the tendentiousness of the aesthetic intuition of the recipient. Listening experience is usually more obvious aspects of dimension selection and setting, combined with specific music examples to illustrate the aesthetic dimension indicators; metaphysical unidirectional mode reflects the depth of the relevant aesthetic evaluation. Case and internal three parts of the first work sound related case analysis, Choose the Chinese and foreign music closely related to the relevant aesthetic dimensions as crystals (or segments) to describe the emotional experience of music in the process of listening in these aesthetic dimensions to illustrate the effectiveness of dimension setting; Secondly, it summarizes the metaphysical and metaphysical features of aesthetic dimension. In the conclusion part, the conclusion report of the whole research process is given, and the summary of the research on the topic, the sustainable method of the topic and so on, are explained, and the emphasis is put on the conclusion that the writing of the concert music evaluation is an effective field way of the perceptual description. This paper discusses the necessity of the three logical transformation of music criticism writing, and promotes the practice of musical perceptual experience description under the concept of acceptance aesthetics through the consciousness of question. Carry forward the research essence of problem raising, thinking and problem solving under the resource reserve of music aesthetics. On the basis of fully respecting the previous academic achievements, this paper puts forward the original cognition of duality theory, aesthetic dimension and individual terms, and the basic understanding of "the use of perceptual means of accepting the subject to describe the perceptual experience of music". It provides a way to study the emotional experience of music in the field of music aesthetics.
【学位授予单位】：上海音乐学院
【学位级别】：博士
【学位授予年份】：2009
【分类号】：J601
【引证文献】
相关硕士学位论文 前1条
1 刘明清;初探音响分析[D];西南大学;2012年
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