音樂感性經(jīng)驗(yàn)描寫研究
發(fā)布時(shí)間：2018-10-04 18:30
【摘要】： 音樂作品的音響為接受主體的聽覺而存在,接受主體用聽覺能夠把握音響的哪些方面?又如何來進(jìn)行這些聽覺描述?是這些問題在驅(qū)動(dòng)本文進(jìn)行音樂感性經(jīng)驗(yàn)描寫的研究。 本文研究主要針對接受主體音響審美過程中的音樂感性經(jīng)驗(yàn)描寫對象、音樂感性經(jīng)驗(yàn)描寫主體、音樂審美維度具體設(shè)定等方面來展開。全文分為論題理論維度、論題實(shí)踐維度、論題個(gè)案研究及內(nèi)在三分性等板塊,從理論到實(shí)踐地進(jìn)行梳理、論證、分析與研究。主要涉及論題概念、相關(guān)研究現(xiàn)狀、相關(guān)直接(間接)理論依據(jù)、相關(guān)二重性理論、音樂審美維度確定、音樂作品個(gè)案研究與審美維度內(nèi)在關(guān)系整合以及論題自我評價(jià)等,探索接受主體如何運(yùn)用聆聽音響的直觀審美經(jīng)驗(yàn)感知音樂感性經(jīng)驗(yàn)、音響在審美維度中的具體表現(xiàn)、針對音樂感性經(jīng)驗(yàn)展開感性化描寫、個(gè)案研究中對具體維度的再歸納等問題。 緒論部分通過核心概念“音樂感性經(jīng)驗(yàn)”的結(jié)構(gòu)層次化論述,試圖解析概念要素間的相關(guān)性,在簡要綜述前人研究現(xiàn)狀后對論題直接(間接)相關(guān)理論進(jìn)行分別論述,說明了論題理論參照側(cè)重主體論的角度。論題理論維度部分論述感性經(jīng)驗(yàn)描寫的二重性理論認(rèn)識,其中第一重性說明論題研究的描寫對象為音樂感性經(jīng)驗(yàn);第二重性說明論題描寫是主體對音樂感性經(jīng)驗(yàn)的感性化描寫,同時(shí)提出感性化描寫的具體實(shí)施方式,繼而說明音樂感性、理性因素的存在狀況及感性化描寫重在觀照音樂感性因素的觀點(diǎn)。論題實(shí)踐維度部分說明兩個(gè)審美模態(tài)(顯喻隱喻綜合模態(tài)、形而上單向度模態(tài)),相對平面化的顯喻隱喻綜合模態(tài)從接受主體審美直覺的傾向性、聆聽經(jīng)驗(yàn)通常較為明顯的方面進(jìn)行維度選擇與設(shè)定,結(jié)合具體音樂例證說明審美維度指標(biāo);形而上單向度模態(tài)則體現(xiàn)了縱深化的相關(guān)審美評價(jià)。個(gè)案及內(nèi)在三分性部分首先對作品音響進(jìn)行相關(guān)個(gè)案分析,選擇與各相關(guān)審美維度聯(lián)系較為緊密的中外音樂作晶(或片斷),具體描述聆聽過程中音樂感性經(jīng)驗(yàn)在這些審美維度中的體現(xiàn),用以說明維度設(shè)定的有效性;其次總結(jié)了審美維度中潛藏著形而下、形而下與形而上之間、形而上等三分性的特征。結(jié)論部分對整個(gè)研究過程進(jìn)行總結(jié)性報(bào)告,從論題研究總結(jié)、論題可持續(xù)方法等方面進(jìn)行說明,重點(diǎn)提出了音樂會(huì)樂評寫作是感性化描寫行之有效的田野方式、樂評寫作三邏輯轉(zhuǎn)換的必要性等問題,通過問題意識來推動(dòng)接受美學(xué)觀念下的音樂感性經(jīng)驗(yàn)描寫實(shí)踐。不斷發(fā)揚(yáng)音樂美學(xué)資源儲(chǔ)備下提出問題、思考問題、解決問題的研究本質(zhì)。 本文在充分尊重前人學(xué)術(shù)成果基礎(chǔ)上,提出二重性理論、審美維度雙模態(tài)及個(gè)別術(shù)語等原創(chuàng)性認(rèn)識,通過“接受主體使用感性的方式進(jìn)行音樂感性經(jīng)驗(yàn)描寫”的基本認(rèn)識,為音樂美學(xué)論域有關(guān)音樂感性經(jīng)驗(yàn)問題提供一種研究思路和途徑。
[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.
【學(xué)位授予單位】：上海音樂學(xué)院
【學(xué)位級別】：博士
【學(xué)位授予年份】：2009
【分類號】：J601
本文編號：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.
【學(xué)位授予單位】：上海音樂學(xué)院
【學(xué)位級別】：博士
【學(xué)位授予年份】：2009
【分類號】：J601
【引證文獻(xiàn)】
相關(guān)碩士學(xué)位論文 前1條
1 劉明清;初探音響分析[D];西南大學(xué);2012年
，本文編號：2251429
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