【摘要】： 在傳統(tǒng)的觀(guān)念和研究中,聽(tīng)覺(jué)的功能只是獲取信息,在對(duì)事物的認(rèn)識(shí)過(guò)程中處于低級(jí)階段。而只有思維才能對(duì)事物進(jìn)行深層次的認(rèn)識(shí)和理解。因此,在對(duì)音樂(lè)藝術(shù)的研究中,聽(tīng)覺(jué)便一直被作為是初級(jí)的認(rèn)識(shí),需要上升到思維層次才能對(duì)作品進(jìn)行理解和獲得審美。然而,事實(shí)并非如此。聽(tīng)覺(jué)本身具有與思維相類(lèi)似的理解能力和審美能力。其自身的功能也并非僅限于對(duì)事物信息初級(jí)的獲取。阿恩海姆以格式塔心理學(xué)為基礎(chǔ)對(duì)視覺(jué)的研究已成功證實(shí)視覺(jué)具有思維性和審美能力。鑒于聽(tīng)覺(jué)和視覺(jué)同屬感官知覺(jué)范疇,并且具有諸多類(lèi)似特性。因此,聽(tīng)覺(jué)的思維性也同樣具有感官知覺(jué)的共同特性和功能。 本文以格式塔心理學(xué)為理論基礎(chǔ),借鑒阿恩海姆視覺(jué)思維研究的成果,致力于初步建立一套聽(tīng)覺(jué)思維理論體系,并依此理論體系對(duì)音樂(lè)作品從新的視角進(jìn)行詮釋。使人們看到在對(duì)音樂(lè)作品的欣賞中聽(tīng)覺(jué)所占有的重要地位。由于聽(tīng)覺(jué)具有這種思維與審美的功能特性,那么作為聽(tīng)覺(jué)對(duì)象的音樂(lè)便具有了新的功能。即,音樂(lè)具有開(kāi)發(fā)人創(chuàng)造力潛能的作用。因此,音樂(lè)教育的責(zé)任與功能也就得到了擴(kuò)展。音樂(lè)教育應(yīng)當(dāng)被重視起來(lái)。 本文第一章對(duì)聽(tīng)覺(jué)具有的思維性和審美能力進(jìn)行論證,并初步建立起聽(tīng)覺(jué)思維的理論體系。第二章,運(yùn)用建立起的聽(tīng)覺(jué)思維理論中的力與力之間的關(guān)系對(duì)音樂(lè)作品進(jìn)行分析和闡釋。第三章,從感知與思維的分裂中論述作為聽(tīng)覺(jué)對(duì)象的音樂(lè)被忽視的原因,并揭示出音樂(lè)對(duì)于培養(yǎng)人創(chuàng)造力的重要性和音樂(lè)教育新的功能與社會(huì)責(zé)任。
[Abstract]:In the traditional concept and research, the function of hearing is to obtain information, and it is in the lower stage in the process of understanding things. But only the thought can carry on the deep level cognition and the understanding to the thing. Therefore, in the study of music art, hearing has always been regarded as the primary understanding, which needs to rise to the level of thinking in order to understand the works and obtain aesthetic appreciation. However, this is not the case. Hearing itself has the ability to understand and appreciate beauty similar to thinking. Its own function is not limited to the acquisition of the primary information of things. Arnheim's study of vision based on Gestalt psychology has proved that vision has the ability of thinking and aesthetics. In view of the sense of hearing and vision belong to the category of sensory perception, and have many similar characteristics. Therefore, auditory thinking also has the common characteristics and functions of sensory perception. Based on the theory of Gestalt psychology and drawing lessons from the research of Arnheim's visual thinking, this paper is devoted to the establishment of a set of auditory thinking theory system, and the interpretation of music works from a new perspective according to this theoretical system. To make people see the important position of hearing in the appreciation of music. Because hearing has this kind of thinking and aesthetic function, then music as the object of hearing has a new function. That is, music has the potential to develop human creativity. Therefore, the responsibility and function of music education has been expanded. Music education should be valued. The first chapter demonstrates the thinking and aesthetic ability of hearing, and establishes the theoretical system of auditory thinking. In the second chapter, the relationship between force and force in the established theory of auditory thinking is used to analyze and explain music works. The third chapter discusses the reasons why music, which is the object of hearing, is neglected from the split of perception and thinking, and reveals the importance of music in cultivating human creativity and the new function and social responsibility of music education.
【學(xué)位授予單位】：云南藝術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類(lèi)號(hào)】：J605

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本文編號(hào)：2376259