【作者】 黄汉华；

【导师】 胡经之；

【作者基本信息】 暨南大学 ， 文艺学， 2003， 博士

【摘要】 音乐音响符号是人类在长期的社会实践活动中，尤其是在长期音乐实践活动中，对自然以及社会现实生活中的声态、动态原型进行不断选择、提炼和抽象的结果。在音乐音响符号形式与现实原型的抽象关系中，人的内在生命情态原型是音乐音响符号赖依产生和抽象的最主要的原型，也是外在的自然界以及社会现实生活中的动态、声态原型进入音乐音响符号形式的必经的中介环节。在“物”(自然以及社会生活的声态、动态原型)→“心”(人的内在生命情态原型)→“音”(音乐音响符号形式)的转化链条中，从符号发生的角度看，首先是“物”如何感动“心”，然后才是“心”如何外化为“音”的转化过程；从符号接受的角度看，则，首先是“音”(作为音乐音响符号的作品)如何感动“心”(音乐欣赏者的内在生命情态)，然后才是符号接受者如何通过 “心”的体验联想把音乐音响符号(作品)与它所反映的现实原型和现实内容联系起来的转化过程。音乐音响符号与现实生活声态、动态原型的抽象关系，以及与现实生活的反映关系，只有在“物”→“心”→“音”→“心”→“物”的转化链条中，才能得到较全面的说明。更多还原

【Abstract】 The sound symbol of music stems form practice, especially from musical practice, which abstracting sound and dynamic archetype in the real life surrounding human being. In this abstracting relation between the sound symbol of music and real-life archetype, the internal emotion archetype is plays more important role. What’s more, it is emotion archetype that makes the real-life sound and dynamic archetype be translated into musical sound symbol. That is to say, matter(sound and dynamic archetype), spirit(internal emotion archetype) and music(The sound symbol of music) are three important elements. They translate into one another, which give us information to answer how musical sound come into being and be appreciated. About the former, at first, it is matter that hits spirit, and then spirit is translated into music. But about the latter, on the contrary, at first, it is music that hits spirit, and then spirit is translated into matter by the audience’s association and their experience. Only if we give the abstracting and reflecting relations between the sound symbol and real-life sound and dynamic archetype in the process of matter-spirit-music-spirit-matter, we can interpret it.更多还原