音樂(lè)美的探索歷程管窺
發(fā)布時(shí)間：2018-07-26 14:40
【摘要】：音樂(lè)美學(xué)是美學(xué)的一個(gè)分支，專門(mén)對(duì)音樂(lè)的內(nèi)容和形式加以探討，，以 音樂(lè)的表現(xiàn)力和表現(xiàn)方法等問(wèn)題為自己的課題。音樂(lè)美學(xué)有別于音樂(lè)理論 之處在于：“音樂(lè)美學(xué)并不過(guò)多地研究各個(gè)音樂(lè)作品的創(chuàng)作與結(jié)構(gòu)問(wèn)題， 它的研究對(duì)象……是在于以作品為一個(gè)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(lè)對(duì)人類精神的反映�！� 奧地利音樂(lè)美學(xué)家、批評(píng)家漢斯立克 1854 年發(fā)表《論音樂(lè)的美》，提 出在研究音樂(lè)美學(xué)問(wèn)題時(shí)應(yīng)該特別關(guān)注音樂(lè)藝術(shù)的特殊性問(wèn)題。漢斯立克 認(rèn)為，“審美探討的研究對(duì)象首先是美的物體，而不是感受著的主體�！� 要 求對(duì)美取得客觀的認(rèn)識(shí)，把美看成是“不變的客觀事實(shí)”，認(rèn)為事物的客 觀的美同鑒賞者的主體感受無(wú)關(guān)。 德國(guó)音樂(lè)學(xué)家費(fèi)利克斯·卡茨在其于 1929 年編寫(xiě)出版的《音樂(lè)美學(xué) 的主要流派》一書(shū)中，將十八世紀(jì)末葉康德以來(lái)德國(guó)音樂(lè)美學(xué)劃分為兩個(gè) 相互對(duì)立的流派，即他律美學(xué)和自律美學(xué)。他律美學(xué)認(rèn)為，制約著音樂(lè)的 法則和規(guī)律是來(lái)自音樂(lè)之外的，也就是說(shuō)，音樂(lè)是受某種外在規(guī)律決定的； 而自律美學(xué)則認(rèn)為，制約著音樂(lè)的法則和規(guī)律不是來(lái)自音樂(lè)之外，而是在 音樂(lè)自身當(dāng)中。 19 世紀(jì)后半葉以漢斯立克為代表的形式－自律論，其哲學(xué)－美學(xué)的 直接淵源是康德的美學(xué)�？档律婕耙魳�(lè)本質(zhì)的觀念基本上都是他的哲學(xué)－ 美學(xué)體系的思辨推演。他認(rèn)為，正是對(duì)象的形式才能與人的想象力和理解 力相適應(yīng)，從而使這想象力與理解力能自由地活動(dòng)，并形成相互間的和諧 合作。美感正是主體的內(nèi)在的想象力與理解力與外在對(duì)象的形式之間產(chǎn)生 一種內(nèi)外契合時(shí)所體驗(yàn)到的那種精神愉悅。 對(duì)浪漫主義的他律論音樂(lè)美學(xué)產(chǎn)生深刻影響的是德國(guó)哲學(xué)家黑格爾 的音樂(lè)觀。他于 1817 年整理發(fā)表的美學(xué)講座的講稿《美學(xué)》為浪漫主義 - 40 - WP=45 的他律美學(xué)從哲學(xué)美學(xué)上提供了根據(jù)。他強(qiáng)調(diào)音樂(lè)的內(nèi)容是情感的表現(xiàn)， 只有情感才是音樂(lè)所要據(jù)為己有的領(lǐng)域。黑格爾對(duì)情感有自己的理解，它 是一種抽象的自我意識(shí)，是一種所謂“完全無(wú)對(duì)象性的內(nèi)心生活”。 由漢斯立克的《論音樂(lè)的美》開(kāi)始，音樂(lè)美學(xué)界開(kāi)始形式與內(nèi)容、自 律與他律的爭(zhēng)論，自此，各個(gè)美學(xué)流派都試圖用自己的理論來(lái)解釋音樂(lè)審 美活動(dòng)中的各種現(xiàn)象與問(wèn)題。然而，漢斯立克純粹的客觀論將音樂(lè)與人完 全割離，杜夫海納雖然從格式塔心理學(xué)受到啟示，卻并未擺脫漢斯立克對(duì) 于音樂(lè)的形式內(nèi)容一元論，蘇姍·朗格盡管力圖調(diào)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(xué)的應(yīng)用亦 未貫徹始終。 音樂(lè)藝術(shù)由于其自身的特殊性質(zhì)，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(yuǎn)的關(guān)系，而同情感、情緒等心理體驗(yàn)有著密切 的聯(lián)系，因此在揭示其本質(zhì)時(shí)，借鑒當(dāng)代心理學(xué)的成果，采用心理學(xué)的方 法，就理所當(dāng)然地成為一個(gè)重要途徑。因此格式塔心理學(xué)等心理學(xué)理論的 應(yīng)用是十分必要而且有效的。 然而，音樂(lè)畢竟是一種復(fù)雜的社會(huì)文化現(xiàn)象；對(duì)音樂(lè)的心理體驗(yàn)畢竟 是一種在特定社會(huì)歷史條件下的文化產(chǎn)物和文化行為，其內(nèi)涵極為復(fù)雜和 豐富。忽視音樂(lè)藝術(shù)的社會(huì)歷史內(nèi)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(mén)藝術(shù)的獨(dú)特本質(zhì)的。 認(rèn)知美學(xué)是建立在現(xiàn)代認(rèn)知科學(xué)基礎(chǔ)之上的新型的科學(xué)美學(xué)形態(tài)。從 認(rèn)知科學(xué)的角度出發(fā)，認(rèn)知美學(xué)認(rèn)為要對(duì)事物的形式進(jìn)行知覺(jué)進(jìn)而審美需 要兩個(gè)條件：知覺(jué)模式和完全的抽象思維能力。前者使人能通過(guò)對(duì)特定事 物特定外在樣態(tài)的知覺(jué)而產(chǎn)生相對(duì)穩(wěn)定的情感反應(yīng)，后者則使人能在大腦 中對(duì)事物的形式與內(nèi)容加以區(qū)分。 審美活動(dòng)的認(rèn)知方式雖然是非功利的，認(rèn)知所憑借的工具中介即知覺(jué) 模式卻是在功利基礎(chǔ)上形成的。知覺(jué)模式在功利基礎(chǔ)上的建立可有兩種方 式：一是經(jīng)由長(zhǎng)期的發(fā)展過(guò)程，逐漸地、緩慢地積累而成；一是在短時(shí)間 - 41 - WP=46 內(nèi)由于功利價(jià)值的強(qiáng)化作用迅速形成。這又表現(xiàn)為三種情形或三種途徑： 進(jìn)化遺傳過(guò)程中形成的生存性知覺(jué)模式，較長(zhǎng)期、穩(wěn)定的社會(huì)生活造成的 一般文化性知覺(jué)模式，以及由具體社會(huì)存在造成的特定社會(huì)性知覺(jué)模式。 人們通常所說(shuō)的音樂(lè)美指的是音樂(lè)給人帶來(lái)美感，人們?cè)谛蕾p音樂(lè)時(shí) 產(chǎn)生了無(wú)功利的快感，因此將這音樂(lè)稱為是美的。漢斯立克認(rèn)為音樂(lè)的美 同鑒賞者的主體感受無(wú)關(guān)的客觀論觀點(diǎn)是立不住腳的；正是由于音樂(lè)使審 美主體感到了無(wú)功利知覺(jué)關(guān)系下的愉悅，它才被人們認(rèn)為是美的。格式塔 心理學(xué)認(rèn)識(shí)到了這一點(diǎn)，人們認(rèn)為某個(gè)事物是美的是因?yàn)榭陀^事物所具有 的形式結(jié)構(gòu)與審美主體的知覺(jué)結(jié)構(gòu)相吻合，即所謂“異質(zhì)同構(gòu)”。因此格 式塔心理學(xué)能夠解釋為什么有些音樂(lè)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(huì)屬性，致使格式塔學(xué)派不能回答 動(dòng)物是否能對(duì)音樂(lè)審美以及人與人之間相異的音樂(lè)審美趣味等問(wèn)題。 人的現(xiàn)實(shí)的審美知覺(jué)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(jué)模式成分也可以在一定文化圈內(nèi)超越民族、階 級(jí)的差別，具有一定的共同性；而社會(huì)性知覺(jué)模式成分則直接受到社會(huì)現(xiàn) 實(shí)生活、階級(jí)
[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(xué)位授予單位】：吉林大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2004
【分類號(hào)】：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(xué)位授予單位】：吉林大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2004
【分類號(hào)】：J601
【相似文獻(xiàn)】
相關(guān)期刊論文 前10條
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