音樂美的探索歷程管窺
發(fā)布時間：2018-07-26 14:40
【摘要】：音樂美學是美學的一個分支，專門對音樂的內容和形式加以探討，，以 音樂的表現(xiàn)力和表現(xiàn)方法等問題為自己的課題。音樂美學有別于音樂理論 之處在于：“音樂美學并不過多地研究各個音樂作品的創(chuàng)作與結構問題， 它的研究對象……是在于以作品為一個整體，根據(jù)作品所表現(xiàn)的美、魅力、 丑或崇高等許多范疇，找出音樂對人類精神的反映�！� 奧地利音樂美學家、批評家漢斯立克 1854 年發(fā)表《論音樂的美》，提 出在研究音樂美學問題時應該特別關注音樂藝術的特殊性問題。漢斯立克 認為，“審美探討的研究對象首先是美的物體，而不是感受著的主體。” 要 求對美取得客觀的認識，把美看成是“不變的客觀事實”，認為事物的客 觀的美同鑒賞者的主體感受無關。 德國音樂學家費利克斯·卡茨在其于 1929 年編寫出版的《音樂美學 的主要流派》一書中，將十八世紀末葉康德以來德國音樂美學劃分為兩個 相互對立的流派，即他律美學和自律美學。他律美學認為，制約著音樂的 法則和規(guī)律是來自音樂之外的，也就是說，音樂是受某種外在規(guī)律決定的； 而自律美學則認為，制約著音樂的法則和規(guī)律不是來自音樂之外，而是在 音樂自身當中。 19 世紀后半葉以漢斯立克為代表的形式－自律論，其哲學－美學的 直接淵源是康德的美學。康德涉及音樂本質的觀念基本上都是他的哲學－ 美學體系的思辨推演。他認為，正是對象的形式才能與人的想象力和理解 力相適應，從而使這想象力與理解力能自由地活動，并形成相互間的和諧 合作。美感正是主體的內在的想象力與理解力與外在對象的形式之間產生 一種內外契合時所體驗到的那種精神愉悅。 對浪漫主義的他律論音樂美學產生深刻影響的是德國哲學家黑格爾 的音樂觀。他于 1817 年整理發(fā)表的美學講座的講稿《美學》為浪漫主義 - 40 - WP=45 的他律美學從哲學美學上提供了根據(jù)。他強調音樂的內容是情感的表現(xiàn)， 只有情感才是音樂所要據(jù)為己有的領域。黑格爾對情感有自己的理解，它 是一種抽象的自我意識，是一種所謂“完全無對象性的內心生活”。 由漢斯立克的《論音樂的美》開始，音樂美學界開始形式與內容、自 律與他律的爭論，自此，各個美學流派都試圖用自己的理論來解釋音樂審 美活動中的各種現(xiàn)象與問題。然而，漢斯立克純粹的客觀論將音樂與人完 全割離，杜夫海納雖然從格式塔心理學受到啟示，卻并未擺脫漢斯立克對 于音樂的形式內容一元論，蘇姍·朗格盡管力圖調和自律論與情感論之間 的矛盾，然而卻陷入了自身的理論沖突，其理論中格式塔心理學的應用亦 未貫徹始終。 音樂藝術由于其自身的特殊性質，例如它同抽象的、理性的觀念以及 具象的客體形象保持著疏遠的關系，而同情感、情緒等心理體驗有著密切 的聯(lián)系，因此在揭示其本質時，借鑒當代心理學的成果，采用心理學的方 法，就理所當然地成為一個重要途徑。因此格式塔心理學等心理學理論的 應用是十分必要而且有效的。 然而，音樂畢竟是一種復雜的社會文化現(xiàn)象；對音樂的心理體驗畢竟 是一種在特定社會歷史條件下的文化產物和文化行為，其內涵極為復雜和 豐富。忽視音樂藝術的社會歷史內涵，而將它只作為一種心理現(xiàn)象去審視， 是難以真正全面揭示這門藝術的獨特本質的。 認知美學是建立在現(xiàn)代認知科學基礎之上的新型的科學美學形態(tài)。從 認知科學的角度出發(fā)，認知美學認為要對事物的形式進行知覺進而審美需 要兩個條件：知覺模式和完全的抽象思維能力。前者使人能通過對特定事 物特定外在樣態(tài)的知覺而產生相對穩(wěn)定的情感反應，后者則使人能在大腦 中對事物的形式與內容加以區(qū)分。 審美活動的認知方式雖然是非功利的，認知所憑借的工具中介即知覺 模式卻是在功利基礎上形成的。知覺模式在功利基礎上的建立可有兩種方 式：一是經由長期的發(fā)展過程，逐漸地、緩慢地積累而成；一是在短時間 - 41 - WP=46 內由于功利價值的強化作用迅速形成。這又表現(xiàn)為三種情形或三種途徑： 進化遺傳過程中形成的生存性知覺模式，較長期、穩(wěn)定的社會生活造成的 一般文化性知覺模式，以及由具體社會存在造成的特定社會性知覺模式。 人們通常所說的音樂美指的是音樂給人帶來美感，人們在欣賞音樂時 產生了無功利的快感，因此將這音樂稱為是美的。漢斯立克認為音樂的美 同鑒賞者的主體感受無關的客觀論觀點是立不住腳的；正是由于音樂使審 美主體感到了無功利知覺關系下的愉悅，它才被人們認為是美的。格式塔 心理學認識到了這一點，人們認為某個事物是美的是因為客觀事物所具有 的形式結構與審美主體的知覺結構相吻合，即所謂“異質同構”。因此格 式塔心理學能夠解釋為什么有些音樂能夠使大多數(shù)人都感到審美的愉快。 然而只看到人的自然屬性，忽略人的社會屬性，致使格式塔學派不能回答 動物是否能對音樂審美以及人與人之間相異的音樂審美趣味等問題。 人的現(xiàn)實的審美知覺模式是統(tǒng)一而具體的。其中的先天成分成為人類 所共有的成分；文化性知覺模式成分也可以在一定文化圈內超越民族、階 級的差別，具有一定的共同性；而社會性知覺模式成分則直接受到社會現(xiàn) 實生活、階級
[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
【學位授予單位】：吉林大學
【學位級別】：碩士
【學位授予年份】：2004
【分類號】：J601
[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
【學位授予單位】：吉林大學
【學位級別】：碩士
【學位授予年份】：2004
【分類號】：J601
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