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一音乐的感性材料,即与人的心理行为发生直接关系的构成艺术作品的物质材料。客观世界的声音和颜色不一定是感性材料,只有当它们作为构成艺术作品的物质材料,只有当它作为音乐艺术的媒介时,才能称为感性材料。音乐中的模仿主要指用音乐的音响模仿现实生活中和自然界的其他声音,也就是通过声音来表现声音。我们在学习音乐感性材料的模仿性这一小节中,了解到作者所描述的对声音的模仿包括了音调的模仿、速度与节奏的模仿、概念或寓意的模仿。比如:贝多芬在《田园交响曲》第二乐章中用长笛、双簧管分别模仿夜莺、鹌鹑和布谷鸟的叫声;肖邦在《降D大调前
A sensual material of music, that is, a material material that constitutes a work of art that is directly related to a person’s psychological behavior. The sound and color of the objective world are not necessarily perceptual materials, and only if they are material materials that make up a work of art, they can be called perceptual materials only when they are used as media of music and art. Imitation in music mainly refers to the use of music sound to imitate other sounds in real life and nature, that is, through the voice to express the sound. As we learn from the section on the imitability of musical perceptual material, we learn that the imitation of sound described by the author includes imitation of tones, imitation of tempo and tempo, imitation of concepts or meanings. For example, Beethoven used the flute and oboe to imitate the nightingales, quails and cuckoo sounds in the second movement of “Pastoral Symphony” respectively;