【摘要】： 本文企圖從音樂(lè)審美心理學(xué)的角度探討音樂(lè)審美活動(dòng)中多聲音響的感知和多聲音樂(lè)創(chuàng)作的心理機(jī)制，并進(jìn)一步探討多聲部音樂(lè)思維的形成和音樂(lè)教育中的培養(yǎng)問(wèn)題，從而在對(duì)專(zhuān)業(yè)和非專(zhuān)業(yè)的人群的音樂(lè)教育中，可以做到有的放矢，因材施教，發(fā)展和提高我國(guó)國(guó)民的音樂(lè)素質(zhì)。 由于西方音樂(lè)中傳統(tǒng)和聲的基本單位——和弦(三度疊置)的音響在聽(tīng)覺(jué)音色上的親和相融性，聽(tīng)覺(jué)在接受它的刺激信息時(shí)又由于音響物理學(xué)的原因，可以產(chǎn)生協(xié)和與否的感覺(jué)。但作為符號(hào)體系而言，獨(dú)立的、脫離調(diào)性的單一的和弦音響，既不可能表現(xiàn)出它的傾向性，也無(wú)法顯示它的色彩性，此外，由于音樂(lè)中必須有各個(gè)聲部的各種組合運(yùn)動(dòng)才能顯示出中心的穩(wěn)定性和流動(dòng)偏離的向心作用，因而孤立地研究和弦音響對(duì)心理的影響作用毫無(wú)審美意義，它不能給予聽(tīng)眾以和諧與否的美感。 本文所論述的多聲部音樂(lè)，指以聲部為基本單位的有秩序，有組織的多音同時(shí)運(yùn)動(dòng)，包括它們?cè)诳v向結(jié)合中的張力松弛、色彩組合，以及橫向上的音調(diào)交替、節(jié)奏對(duì)比等關(guān)系，，因此，對(duì)多聲音樂(lè)的研究，將涉及到和聲、復(fù)調(diào)、配器甚至曲體結(jié)構(gòu)等學(xué)科以及他們?cè)谛蜗笏季S和邏輯思維之間如何結(jié)合等等問(wèn)題。 本文論述的多聲部音樂(lè)思維，也就是對(duì)上述音樂(lè)表象邏輯的運(yùn)用過(guò)程的進(jìn)一步展開(kāi)，所謂多聲部音樂(lè)思維，主要包括多聲音樂(lè)的接收(聽(tīng)知覺(jué))以及輸出(將物理音響物化還原為音樂(lè)符號(hào))的能力，這是一個(gè)涉及物理、生理、心理機(jī)制的復(fù)雜過(guò)程。這種思維能力在音樂(lè)審美活動(dòng)不同環(huán)節(jié)中有著不同的意義。 就音樂(lè)欣賞層面而言，指審美主體的聽(tīng)覺(jué)對(duì)音響刺激的感官接納，并將此信息交由審美經(jīng)驗(yàn)進(jìn)行處理的心理過(guò)程，這一過(guò)程，根據(jù)審美主體對(duì)多聲音樂(lè)中的秩序感的審美經(jīng)驗(yàn)不同，可能分為“感覺(jué)”、“領(lǐng)悟”，以至“思維”等層次；對(duì)音樂(lè)創(chuàng)作而言，則是審美主體的思想感情予以符號(hào)化的過(guò)程，亦即使內(nèi)心感受借助符號(hào)及其秩序，通過(guò)音樂(lè)表象邏輯的組織的物化過(guò)程。也就是作曲家運(yùn)用音樂(lè)表象的技能，對(duì)符號(hào)秩序運(yùn)用的熟練、巧妙、叛逆、再造等等的能力。對(duì)優(yōu)秀的批評(píng)家而言，他們理應(yīng)具有良好多聲音樂(lè)思維的能力，以便通過(guò)對(duì)作品多維度的透析，過(guò)濾出作品的深刻意義。 無(wú)論是欣賞還是創(chuàng)作過(guò)程都包括了分析，綜合，判斷和推理等心理過(guò)程。這一信息輸入輸出的過(guò)程，既有邏輯思維的參與更有形象思維的穿插。
[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.
【學(xué)位授予單位】：上海音樂(lè)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2007
【分類(lèi)號(hào)】：J60-05

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前3條

1 宮嬋;箏曲復(fù)調(diào)技法研究[D];西南大學(xué);2011年

2 劉潔;影視音樂(lè)敘事符碼解析[D];河北師范大學(xué);2010年

3 譚薇;湖南靖州多聲部苗族“歌

本文編號(hào)：2318567