本文選題：現(xiàn)實實有 + 永恒客體��； 參考：《中國音樂學(xué)》2017年02期

【摘要】：禮俗“集會”儀式的音樂活動與“永恒客體”的音樂形式是兩種類型音樂的文化存在,而非所謂“進步”與“落后”的兩種存在。東方音樂的瑪卡姆、曲牌、拉格都是在一種音樂活動中的表現(xiàn),而非固定的音樂“曲式”,東方與西方音樂是兩種不同類型的音樂——“現(xiàn)實實有”音樂與“永恒客體”音樂。文章分為四個部分:一、“集會”儀式是阿拉伯文學(xué)瑪卡梅與音樂瑪卡姆的起源;二、“曲式”作為“永恒客體”音樂與“集會”儀式作為“現(xiàn)實實有”音樂的差異;三、“現(xiàn)實實有”音樂和“永恒客體”音樂的時空身體認知的差異性;四、現(xiàn)象科學(xué)視野下的音樂身體的“境遇化”與“非境遇化”空間。
[Abstract]:The musical activities of the ritual "assembly" ceremony and the musical form of the "eternal object" are the cultural existence of two types of music, not the two existence of "progress" and "backward". The Makam, qucard and lager of the oriental music are all in a musical activity, rather than the fixed musical "style", the eastern and Western sounds. Music is two different types of music, "real real" music and "eternal object" music. The article is divided into four parts: first, the "assembly" ceremony is the origin of Arabia Literature MA cam Mei and music Makam; two, "musical form" as the "eternal object" music and the "assembly" ceremony as the "realistic" music difference. Three, the difference in the physical cognition of the time and space of "real real" music and the "eternal object" music; four, the "situation" and "non Plight" space of the music body in the visual field of phenomenon science.

【作者單位】： 南京藝術(shù)學(xué)院音樂學(xué)研究所;
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本文編號：1817754