本文選題：理解 + 語言�。� 參考：《南京藝術學院》2008年博士論文

【摘要】： 音樂理解是如何可能的?是要嘗試回答音樂理解活動的發(fā)生、過程及結論。所謂“理解”就是尋找因果關系�，F(xiàn)象學從實事本身出發(fā)的研究方法表明,音樂感性現(xiàn)象是音樂理解活動發(fā)生的本源,理解主體的內在條件是理解活動得以產(chǎn)生的基礎,這個內在條件即由感性、知性和理性既相互區(qū)別又相互滲透的認知能力,音樂語言的表象與生活經(jīng)驗中的表象這兩者之間的關系質,使理解成為可能;而這種關系質的核心就是格式塔質(Gestalqualit?t)。格式塔(Gestalt)就是有意味的形式。理解的目的服從于人的有利生存原則。音樂語言的表象與生活經(jīng)驗的表象的相似性,使“喚醒”成為可能。音樂語言的表象即直觀形態(tài)的觀念,所喚醒的正是人對生活經(jīng)驗中的表象的記憶。這種記憶不僅與主體的類似的生活經(jīng)驗相關,而且與人生在世的籌劃緊密聯(lián)系,這就是音樂語言的所指意義——包括語義學意義的再現(xiàn)意義和表現(xiàn)意義,它們分別構成音樂語言所指意義的兩個層次。音樂語言的能指意義就是它的形式美,這是音樂語言第三個層次的意義,它不僅指向創(chuàng)作主體的能力和才華,而且與音樂語言的所指意義渾然一體。音樂理解在普遍性、特殊性、個別性三個層次存在。當音樂理解活動達到普遍性和特殊性層次,也即“類加種差”的范圍之內,便形成理解的主體間性(inter-subjectivity),檢驗主體間性是否與音樂文本相符合的標準,取決于音樂文本的歷史發(fā)展性,即歷史視界與現(xiàn)實視界的融合的準確度,它是歷史、邏輯、工藝學三個層面的有機結合。研究理解現(xiàn)象的目的,在于協(xié)同體驗能力的發(fā)展,理解與體驗二者正是在相互作用中得到真正的發(fā)展的。
[Abstract]:How is it possible to understand music? It is to try to answer the occurrence, the process and the conclusion of the music comprehension activity. Understanding is looking for causality. The research method of phenomenology from the point of view of reality itself shows that the perceptual phenomenon of music is the origin of music understanding, and the inner condition of understanding subject is the basis of understanding activity, which is the inner condition of sensibility. The cognitive ability, which distinguishes and penetrates each other between knowledge and reason, and the relationship between the representation of musical language and the representation in life experience makes it possible to understand, and the core of this relationship is the Gestalqualitt of Gestalt. The Gestalt is a meaningful form. The purpose of understanding is to conform to the principle of favourable survival for human beings. The similarity between musical language representation and life experience makes arousal possible. The appearance of musical language is the concept of visual form, which awakens the memory of life experience. This kind of memory is not only related to the subject's similar life experience, but also closely related to the living plan of life, which is the meaning of musical language-including the meaning of reproduction and expression of semantic meaning. They constitute two levels of meaning in musical language. The signifier meaning of music language is its beauty of form, which is the third level meaning of music language. It not only points to the ability and talent of the creative subject, but also integrates with the meaning of music language. Music understanding exists at three levels: universality, particularity and individualism. When music comprehension activities reach the level of universality and particularity, that is, "category plus species difference", inter-subjectivity of understanding is formed to test whether inter-subjectivity conforms to the standard of music text. It depends on the historical development of the musical text, that is, the accuracy of the fusion of the historical horizon and the realistic horizon. It is an organic combination of the three levels of history, logic and technology. The purpose of studying the phenomenon of understanding lies in the development of the ability of cooperative experience.
【學位授予單位】：南京藝術學院
【學位級別】：博士
【學位授予年份】：2008
【分類號】：J609.2

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本文編號：1999641