本文選題：接受美學(xué) + 流行音樂��； 參考：《山東師范大學(xué)》2008年碩士論文

【摘要】： 本文以大學(xué)生的音樂接受為中心線索,從接受美學(xué)的角度展開對大學(xué)生音樂審美趣味的分析與闡述,全文由四個章節(jié)構(gòu)成。 第一章主要闡述了本文的研究目的和意義、該領(lǐng)域的研究現(xiàn)狀、本文研究思路和方法以及本文的理論依據(jù)。本文中的調(diào)查問卷主要針對大學(xué)生的音樂接受問題而設(shè)計,并對調(diào)查所得的數(shù)據(jù)進行統(tǒng)計列表體現(xiàn)結(jié)果。 本文第二章的問卷調(diào)查與研究主要涉及三個方面的問題:1、大學(xué)生群體對于音樂的總體態(tài)度與接受習(xí)慣;個體差異對于音樂審美習(xí)慣的影響。2、從接受美學(xué)中的審美對象是否滿足主體需求的角度探索大學(xué)生對當前音樂尤其是流行音樂現(xiàn)狀的接受度和受影響程度。3、大學(xué)生對于當前音樂尤其是流行音樂美學(xué)意義的解讀。通過對這些問題的研究,得出結(jié)論:相對于其他類型的音樂,當代大學(xué)生更酷愛流行音樂,而當前的流行音樂也基本可以滿足他們的音樂需求。 本文第三章從接受美學(xué)的角度出發(fā),進一步分析大學(xué)生在音樂接受主體性地位,以及在他們的音樂接受過程中所表現(xiàn)出與音樂本體之間的交流互動,而他們對于音樂審美意義的理解,也因為個體的差異而略有不同。在本章中,筆者認為大學(xué)生在音樂欣賞和接受中具有主觀能動性,他們的“三度創(chuàng)作”與作曲和演奏的過程是雙向互動的,在音樂欣賞和接受的過程中,大學(xué)生必然會產(chǎn)生對自我的反省和再認識,甚至可能成為自身精神境界升華的過程。 本文第四章進一步分析了大學(xué)生音樂接受的本質(zhì),并通過對調(diào)查問卷結(jié)果的分析提出當前大學(xué)生音樂審美素養(yǎng)普遍偏低和嚴重的審美娛樂化傾向的問題。筆者認為,當前大學(xué)生的音樂審美仍缺乏相應(yīng)科學(xué)的指導(dǎo),相當一部分學(xué)生仍然沒有注意到音樂接受活動對自身審美觀的影響。要解決這種現(xiàn)狀,需要全社會的共同努力,要加強大學(xué)生的審美教育,盡量提高各級學(xué)校的音樂教育質(zhì)量,避免地區(qū)性差異,并盡可能將嚴肅音樂引入學(xué)生的日常音樂接受行為中。使他們在主觀上充分認識優(yōu)秀的音樂作品對于陶冶自身情操,豐富人格等多方面的積極作用,主動提高自身的審美修養(yǎng)和審美能力。
[Abstract]:This paper takes the music reception of college students as the central clue and analyzes and expounds the aesthetic taste of college students' music from the perspective of reception aesthetics. The full text consists of four chapters. The first chapter mainly describes the purpose and significance of this paper, the current situation of research in this field, the research ideas and methods of this paper and the theoretical basis of this paper. The questionnaire in this paper is mainly designed for the music acceptance of college students, and the data obtained from the survey are listed to reflect the results. The second chapter of the questionnaire survey and research mainly involved in three aspects of the question: 1, the overall attitude of college students to music and acceptance habits; The influence of individual differences on musical aesthetic habits. 2. From the perspective of whether the aesthetic objects in reception aesthetics meet the needs of the subject, this paper explores the acceptance and influence degree of college students to the current situation of music, especially pop music. The interpretation of the aesthetic significance of current music, especially pop music. Through the study of these problems, it is concluded that contemporary college students love pop music more than other types of music, and the current pop music can basically meet their music needs. In the third chapter, from the perspective of reception aesthetics, the author further analyzes the subjective position of college students in music acceptance, and the interaction between college students and music Noumenon in the process of music acceptance. Their understanding of the aesthetic meaning of music is also slightly different from individual differences. In this chapter, the author thinks that college students have subjective initiative in music appreciation and acceptance, their "three degrees of creation" and the process of composition and performance are two-way interaction, and in the process of music appreciation and acceptance, College students will inevitably reflect on themselves and reunderstand themselves, and may even become the process of sublimation of their own spiritual realm. The fourth chapter further analyzes the nature of college students' music acceptance, and through the analysis of the results of the questionnaire, puts forward the current college students' music aesthetic literacy is generally low and serious aesthetic entertainment tendency. The author believes that the current music aesthetic of college students still lacks the corresponding scientific guidance, and quite a few students still do not notice the influence of music acceptance activities on their own aesthetics. In order to solve this situation, it is necessary for the whole society to make joint efforts, to strengthen the aesthetic education of college students, to improve the quality of music education in schools at all levels as far as possible, and to avoid regional differences. And as far as possible serious music into the students' daily music acceptance behavior. So that they can fully understand the positive role of excellent music works in cultivating their own sentiment, enriching personality and so on, and actively improving their own aesthetic cultivation and aesthetic ability.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2008
【分類號】：J601

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本文編號：1853956