默里·谢弗声景思想研究  

A Study on Murray Schafer's Soundscape Thought

作　　者：聂愿青 Nie Yuanqing

机构地区：[1]广西师范大学文学院/新闻与传播学院,广西桂林541001 [2]桂林旅游学院,广西桂林541006

出　　处：《南京艺术学院学报（音乐与表演版）》2024年第3期79-83,136,I0003,共7页Journal of Nanjing Arts Institute:Music & Performance

基　　金：广西哲学社科规划研究一般项目“乡村振兴背景下广西非物质文化遗产‘两创’成效评估与推进机制研究”(项目编号:22BMZ008);桂林旅游学院校级科研项目“后疫情时代广西文旅融合发展模式创新研究--以声音景观模式为例”(项目编号:2021Z33)阶段性成果。

摘　　要：西方音乐文化对智化的、具有形式意味的音乐本体之推崇,导致了听觉意识逐渐被削弱,听觉意识甚至被作为人的幻想所诟病。而传统艺术音乐与多样化声音的冲击造成了音乐形式本体与声音本质的分裂。基于此,默里·谢弗的声景思想规避传统的音乐概念与音乐形式,朝向世俗的声音材料敞开,并返回声音现象与听觉感知展开论述。其声景研究具有现象学理论倾向,即将对声音本体的认识过程转向对听觉本质的感知过程,并从音乐到声音、从时间到空间、从形式到听觉三方面建构了声音的听觉本质,让声音回归听觉,使人真正栖居于世界。The Western music culture's admiration for the intellectual and formal essence of music has led to the gradual weakening of auditory consciousness,which is even criticized as a human fantasy.The impact of traditional art music and diverse sounds has caused a split between the essence of music form and sound.Based on this,Murray Schafer's soundscape research avoids traditional music concepts and forms,opens up to secular sound materials,and returns to sound phenomena and auditory perception itself to conduct soundscape research.The study of Schafer's soundscape shifts the process of understanding the essence of natural sound towards the perception process of auditory essence,and has the characteristics of a phenomenological paradigm.

关 键 词：现象学 声景 默里·谢弗 声音本体 听觉感知 

分 类 号：J601[艺术—音乐]