【作者】 武文华；

【导师】 韩锺恩；

【作者基本信息】 上海音乐学院 ， 系统音乐学理论， 2009， 博士

【摘要】 音乐作品的音响为接受主体的听觉而存在,接受主体用听觉能够把握音响的哪些方面?又如何来进行这些听觉描述?是这些问题在驱动本文进行音乐感性经验描写的研究。本文研究主要针对接受主体音响审美过程中的音乐感性经验描写对象、音乐感性经验描写主体、音乐审美维度具体设定等方面来展开。全文分为论题理论维度、论题实践维度、论题个案研究及内在三分性等板块,从理论到实践地进行梳理、论证、分析与研究。主要涉及论题概念、相关研究现状、相关直接(间接)理论依据、相关二重性理论、音乐审美维度确定、音乐作品个案研究与审美维度内在关系整合以及论题自我评价等,探索接受主体如何运用聆听音响的直观审美经验感知音乐感性经验、音响在审美维度中的具体表现、针对音乐感性经验展开感性化描写、个案研究中对具体维度的再归纳等问题。绪论部分通过核心概念“音乐感性经验”的结构层次化论述,试图解析概念要素间的相关性,在简要综述前人研究现状后对论题直接(间接)相关理论进行分别论述,说明了论题理论参照侧重主体论的角度。论题理论维度部分论述感性经验描写的二重性理论认识,其中第一重性说明论题研究的描写对象为音乐感性经验;第二重性说明论题描写是主体对音乐感性经验的感性化描写,同时提出感性化描写的具体实施方式,继而说明音乐感性、理性因素的存在状况及感性化描写重在观照音乐感性因素的观点。论题实践维度部分说明两个审美模态(显喻隐喻综合模态、形而上单向度模态),相对平面化的显喻隐喻综合模态从接受主体审美直觉的倾向性、聆听经验通常较为明显的方面进行维度选择与设定,结合具体音乐例证说明审美维度指标;形而上单向度模态则体现了纵深化的相关审美评价。个案及内在三分性部分首先对作品音响进行相关个案分析,选择与各相关审美维度联系较为紧密的中外音乐作晶(或片断),具体描述聆听过程中音乐感性经验在这些审美维度中的体现,用以说明维度设定的有效性;其次总结了审美维度中潜藏着形而下、形而下与形而上之间、形而上等三分性的特征。结论部分对整个研究过程进行总结性报告,从论题研究总结、论题可持续方法等方面进行说明,重点提出了音乐会乐评写作是感性化描写行之有效的田野方式、乐评写作三逻辑转换的必要性等问题,通过问题意识来推动接受美学观念下的音乐感性经验描写实践。不断发扬音乐美学资源储备下提出问题、思考问题、解决问题的研究本质。本文在充分尊重前人学术成果基础上,提出二重性理论、审美维度双模态及个别术语等原创性认识,通过“接受主体使用感性的方式进行音乐感性经验描写”的基本认识,为音乐美学论域有关音乐感性经验问题提供一种研究思路和途径。更多还原

【Abstract】 The study on description for music experience of sensibility is exerted in this article by the following question: the sound of music exists for the hearing of receiver, so which aspect of the sound can the receiver understand and how can he/she describe it?This study is mainly concerned with the subject and object of description for music experience of sensibility in the process of receiver’s interpreting the sound aesthetically and the concrete design of aesthetic dimension of music. The article involves the theoretical and practical dimension of the proposition, the case study and inner triplicates, etc which are reviewed, proved, analyzed and studied from theories to practice. It concerns the following aspects such as the definition of proposition, the relevant study background, direct and indirect theories, theory of duality, delimiting the aesthetic dimension of music, the case study of music works, the integration of inner relation among the aesthetic dimensions and self-evaluation of the proposition, etc. And, it explores how the receiver perceives music experience of sensibility by the direct aesthetical experience while appreciating the music; the exact demonstration of sound in aesthetic dimension; the sensitive description of music experience of sensibility; the conclusion of dimensions in the case study, etc.The introduction attempts to explain the relevance between the conceptual elements by analyzing the structures of the core concept "music experience of sensibility". A thorough literature review is followed by the elaboration on direct and indirect relevant theories and the theory of subject is emphasized as the main theory relevant to the proposition. The theoretical dimension of the proposition discusses about the theory of duality based on the experience of sensibility: one shows that the descriptive object of the study is the music experience of sensibility; the other demonstrates that the description of the proposition is the subject’s sensitive description of the music experience of sensibility. Meanwhile, the practical way of sensitive description is raised to explain the existence of sensitive and rational components of music. The opinion that the sensitive description is mainly concerned with sensitive component of music is also put forward. The practical dimension of the proposition discusses about two aesthetical mode shapes: the comprehensive mode shape involving both the metaphor and non-metaphor, one dimensional and metaphysical mode shape. The former that is comparatively monotonous chooses and delimits the dimensions according to the tendency of receiver’s aesthetical instinct and listening experience which are more evident, and explains the criteria of aesthetic dimensions by illustrating the music works. However, the latter represents the relevant aesthetic evaluation in the deeper way. The case study and inner triplicates firstly analyzes the sound of music works and proves the effectiveness of delimiting the dimensions by describing how the music experience of sensibility represents the dimensions during the course of attentive listening based on the music works at home and abroad closely related to each relevant aesthetical dimension. It secondly summarizes the feature of inner triplicates in aesthetical dimensions: physic; between physic and metaphysical; metaphysical. The conclusion reports the whole process of study from the perspective of research summary and sustainable approach. It puts forward that the music criticism writing of concert is the effective way of field work of sensitive description and that it is necessary to fulfill three logical shifts in music criticism writing. Furthermore, the practice of describing the music experience of sensibility belonging to the reception aesthetics should be exerted by awareness of questions so that the research nature of raising, pondering on and answering the question based on music aesthetic reserves could be developed.This article puts forward the theory of duality, two mode shapes of aesthetical dimensions and some original terminologies and provides an approach in studying the music experience of sensibility in the field of music aesthetics through the basic knowledge of "the receiver describes music experience of sensibility by employing sensitive way".更多还原