音乐表演的情感维度

【作者】 杨健；

【导师】 马健；

【作者基本信息】 南京艺术学院 ， 2004， 硕士

【副题名】关于演奏表情问题的理论框架

【摘要】 目前，关于音乐和音乐表演中的情感表现问题的相关理论，在教学和实践中的可操作性上存在着局限，从根本上说是没能解决好音乐情感的非概念性和音乐表演教学过程的概念性之间的矛盾。采取主观体验客观化的策略，本文分三个步骤来缓解此难题： 一．通过对以往美学流派的不同观点进行比较和梳理，提出一种称为多维情感空间的假说，将生活情感、艺术情感和艺术形式及其各个可概念化的维度统一起来。在音乐表演中，凡是能对情感的表现造成微妙差异的技术手段，便定义为情感空间的一个维度。这样使客观的概念化教学语言和主观的非概念化音乐情感之间，得以建立了联系。 二．通过对速度、力度、音色等各个演奏维度进行独立探讨，和“演奏蠕虫”、“布伦斯维克透镜”两个各具优势的多维模型，研究了演奏参数和情感表现之间的一些共性规律。即音乐表情的本质，在于多种演奏参数呈系统化的联合偏离和回归。 三．结合多维情感空间的理论、音乐表情的规律以及一些传统的有效教学方法，指出：科学的音乐表演教学过程，应该始终包含客观反映音乐作品的情感内涵、并直接针对各个演奏参数的认知反馈；音乐表情的教学，从宏观上应该根据学生的特点，分为基础、提高和个性化三个阶段。更多还原

【Abstract】 When practiced in the teaching process, the current related theory of emotional expressiveness in music and musical performance has some limitations basically on the unsuccessful solving of the contradiction between the non-conceptualization of music emotion and the conceptualization of music education. Using the obj edification strategy of the subjective experience, this research resolved the problem through 3 steps:I. The different viewpoints of the past aesthetic genres were compared and summarized. Then a hypothesis called "multidimensional emotion space" was introduced. This hypothesis unified the normal emotion, artistic emotion, artistic form and its conceptual dimensions. In musical performance, every technical means that could bring any subtle difference into the emotional expression should be defined as a dimensionality of the emotion space and this established a relationship between the conceptual objective teaching language and the non-conceptual subjective emotion.II. The rules between performance parameters and emotional expression were studied by research on the performance dimensionalities of tempo, dynamic, timbre etc. and two multidimensional models: "performance worm" and "Brunswikian lens model". This indicated that the essence of the musical expressivity is the united systematic variations of the multidimensional performance parameters.III. According to the theory of multidimensional emotion space, the rules of musical expressivity and some useful traditional teaching method, the scientific teaching approach of music performance should always include a cognitive feedback that objectively reflects the emotional connotion inside the music and directly aims at each performance parameters. The total teaching process should be divided into three phases: Foundation, Advancing and Individuation based on the characteristics of students.更多还原