多声部音乐思维的心理机制
发布时间：2018-11-08 12:54
【摘要】： 本文企图从音乐审美心理学的角度探讨音乐审美活动中多声音响的感知和多声音乐创作的心理机制，并进一步探讨多声部音乐思维的形成和音乐教育中的培养问题，从而在对专业和非专业的人群的音乐教育中，可以做到有的放矢，因材施教，发展和提高我国国民的音乐素质。 由于西方音乐中传统和声的基本单位——和弦(三度叠置)的音响在听觉音色上的亲和相融性，听觉在接受它的刺激信息时又由于音响物理学的原因，可以产生协和与否的感觉。但作为符号体系而言，独立的、脱离调性的单一的和弦音响，既不可能表现出它的倾向性，也无法显示它的色彩性，此外，由于音乐中必须有各个声部的各种组合运动才能显示出中心的稳定性和流动偏离的向心作用，因而孤立地研究和弦音响对心理的影响作用毫无审美意义，它不能给予听众以和谐与否的美感。 本文所论述的多声部音乐，指以声部为基本单位的有秩序，有组织的多音同时运动，包括它们在纵向结合中的张力松弛、色彩组合，以及横向上的音调交替、节奏对比等关系，，因此，对多声音乐的研究，将涉及到和声、复调、配器甚至曲体结构等学科以及他们在形象思维和逻辑思维之间如何结合等等问题。 本文论述的多声部音乐思维，也就是对上述音乐表象逻辑的运用过程的进一步展开，所谓多声部音乐思维，主要包括多声音乐的接收(听知觉)以及输出(将物理音响物化还原为音乐符号)的能力，这是一个涉及物理、生理、心理机制的复杂过程。这种思维能力在音乐审美活动不同环节中有着不同的意义。 就音乐欣赏层面而言，指审美主体的听觉对音响刺激的感官接纳，并将此信息交由审美经验进行处理的心理过程，这一过程，根据审美主体对多声音乐中的秩序感的审美经验不同，可能分为“感觉”、“领悟”，以至“思维”等层次；对音乐创作而言，则是审美主体的思想感情予以符号化的过程，亦即使内心感受借助符号及其秩序，通过音乐表象逻辑的组织的物化过程。也就是作曲家运用音乐表象的技能，对符号秩序运用的熟练、巧妙、叛逆、再造等等的能力。对优秀的批评家而言，他们理应具有良好多声音乐思维的能力，以便通过对作品多维度的透析，过滤出作品的深刻意义。 无论是欣赏还是创作过程都包括了分析，综合，判断和推理等心理过程。这一信息输入输出的过程，既有逻辑思维的参与更有形象思维的穿插。
[Abstract]:This paper attempts to probe into the perception of multi-sound and the psychological mechanism of multi-tone music creation in music aesthetic activities from the angle of musical aesthetic psychology, and to further explore the formation of multi-voice music thinking and the cultivation of music education. Therefore, in the music education of professional and non-professional people, we can aim at it, teach students according to their aptitude, and develop and improve the music quality of our country's people. As the basic unit of traditional harmony in western music is the compatibility of the sound of the chord (third degree superposition) in the auditory tone color, the auditory hearing receives its stimulating information because of the reasons of sound physics. Can create a sense of harmony or not. But as a system of symbols, a single chord sound that is independent and out of tune is not likely to show its inclination or color, in addition, Since it is necessary to have various combinations of movements in the music to show the stability of the center and the centripetal effect of the flow deviation, it is of no aesthetic significance to study the influence of chord sound on psychology in isolation. It does not give the audience a sense of harmony or not. Polyphonic music, as discussed in this paper, refers to the orderly, organized simultaneous movement of sound parts, including their tension relaxation in longitudinal combinations, color combinations, and horizontal tone alternation, rhythmic contrast, etc. Therefore, the study of multi-tone music will involve harmony, polyphony, orchestration and even the structure of music body, and how to combine them between image thinking and logical thinking and so on. The multi-part music thinking discussed in this paper is the further development of the application process of the above musical representation logic, the so-called multi-voice music thinking, It mainly includes the ability of receiving (listening perception) and output (converting physical sound into musical symbols), which is a complex process involving physical, physical and psychological mechanisms. This thinking ability has different meanings in different links of music aesthetic activities. As far as music appreciation is concerned, it refers to the psychological process in which the auditory sense of the aesthetic subject accepts the sound stimulation and gives the information to the aesthetic experience for processing. According to the aesthetic experience of the aesthetic subject to the sense of order in multi-tone music, it may be divided into "feeling", "comprehension" and even "thinking". For music creation, it is the process of symbolizing the thought and emotion of the aesthetic subject, even though the inner feeling is organized by the symbol and its order, and through the materialized process of music representation logic organization. It is the composer's ability to use musical representation, skillful, rebellious, reinventing, etc. For the excellent critics, they should have the ability of thinking multi-tone music so as to filter out the profound significance of the works through the analysis of the multi-dimension of the works. Both appreciation and creation include psychological processes such as analysis, synthesis, judgment and reasoning. This information input and output process, both the participation of logical thinking more image thinking interspersed.
【学位授予单位】：上海音乐学院
【学位级别】：硕士
【学位授予年份】：2007
【分类号】：J60-05
[Abstract]:This paper attempts to probe into the perception of multi-sound and the psychological mechanism of multi-tone music creation in music aesthetic activities from the angle of musical aesthetic psychology, and to further explore the formation of multi-voice music thinking and the cultivation of music education. Therefore, in the music education of professional and non-professional people, we can aim at it, teach students according to their aptitude, and develop and improve the music quality of our country's people. As the basic unit of traditional harmony in western music is the compatibility of the sound of the chord (third degree superposition) in the auditory tone color, the auditory hearing receives its stimulating information because of the reasons of sound physics. Can create a sense of harmony or not. But as a system of symbols, a single chord sound that is independent and out of tune is not likely to show its inclination or color, in addition, Since it is necessary to have various combinations of movements in the music to show the stability of the center and the centripetal effect of the flow deviation, it is of no aesthetic significance to study the influence of chord sound on psychology in isolation. It does not give the audience a sense of harmony or not. Polyphonic music, as discussed in this paper, refers to the orderly, organized simultaneous movement of sound parts, including their tension relaxation in longitudinal combinations, color combinations, and horizontal tone alternation, rhythmic contrast, etc. Therefore, the study of multi-tone music will involve harmony, polyphony, orchestration and even the structure of music body, and how to combine them between image thinking and logical thinking and so on. The multi-part music thinking discussed in this paper is the further development of the application process of the above musical representation logic, the so-called multi-voice music thinking, It mainly includes the ability of receiving (listening perception) and output (converting physical sound into musical symbols), which is a complex process involving physical, physical and psychological mechanisms. This thinking ability has different meanings in different links of music aesthetic activities. As far as music appreciation is concerned, it refers to the psychological process in which the auditory sense of the aesthetic subject accepts the sound stimulation and gives the information to the aesthetic experience for processing. According to the aesthetic experience of the aesthetic subject to the sense of order in multi-tone music, it may be divided into "feeling", "comprehension" and even "thinking". For music creation, it is the process of symbolizing the thought and emotion of the aesthetic subject, even though the inner feeling is organized by the symbol and its order, and through the materialized process of music representation logic organization. It is the composer's ability to use musical representation, skillful, rebellious, reinventing, etc. For the excellent critics, they should have the ability of thinking multi-tone music so as to filter out the profound significance of the works through the analysis of the multi-dimension of the works. Both appreciation and creation include psychological processes such as analysis, synthesis, judgment and reasoning. This information input and output process, both the participation of logical thinking more image thinking interspersed.
【学位授予单位】：上海音乐学院
【学位级别】：硕士
【学位授予年份】：2007
【分类号】：J60-05
【引证文献】
相关硕士学位论文 前3条
1 宫婵;筝曲复调技法研究[D];西南大学;2011年
2 刘洁;影视音乐叙事符码解析[D];河北师范大学;2010年
3 谭薇;湖南靖州多声部苗族“歌
本文编号：2318567
本文链接：https://www.wllwen.com/wenyilunwen/yinyuetheory/2318567.html
