情动于中形于声——通过经验情况写音乐  

Emotions Launch within while Expressed through the Form of Sounds:Writing about Music throngh Empirical Emotional Condition

作　　者：韩锺恩[1] Han Zhong'en

机构地区：[1]上海音乐学院

出　　处：《中国音乐》2024年第1期50-64,共15页Chinese Music

摘　　要：随着相关音响结构力问题以及研究与写作的不断深入展开,理论指向势必转向对感性结构力的关注。在这里,主要以美学问题为基点,依托感性体验与审美观照去切近经验情况以及音乐审美现象。文中举出巴赫、贝多芬、瓦格纳、布拉姆斯、马勒相关作品个例,一方面通过感性体验去描述与音乐作品相应的听感官事实,一方面依托审美观照去表述由音乐作品所引发的经验情况,并进一步去阐述由声音行径与音响易况所生成的音乐审美现象。问题的终端,就是针对并围绕音乐中间难以实证也无可否证却又不容回避且不得不面对的【声-情】与【情-声】关系进行讨论。As scholarly inquiry progresses,the discourse on structural forces in music increasingly gravitates towards perceptual structural forces.This theoretical pivot spotlights aesthetic considerations,employing perceptual experience and aesthetic insight as conduits to engage with the empirical emotional condition and the phenomena of musical aesthetics.Referencing the oeuvre of Bach,Beethoven,Wagner,Brahms,and Mahler,the analysis dualistically interprets sensory data through perceptual experience while invoking aesthetic insight to articulate the empirical emotional condition evoked by the compositions.Furthermore,it expounds on the musical aesthetic phenomena that emerge from the pathways and modulations of sound.The crux of this discourse converges on the intricate and ostensibly elusive nexus between sound and emotion-a conundrum that,while challenging and not readily verifiable,is an inescapable and critical aspect of musical investigation.

关 键 词：音响结构力 感性结构力 听感官事实 经验情况 音乐审美现象 【声-情】与【情-声】关系 情本体 

分 类 号：J601[艺术—音乐]