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20世纪中期以来,随着现象学、哲学释义学和接受美学从不同角度论述了人的意识对于艺术作品存在的重要意义,“接受”越来越成为被研究者所重视的领域。音乐作品由于自身非具象性、非语义性的特质,对人的意识的依赖程度较其他艺术而言更高,其接受现象也呈现出更为复杂的局面,对音乐接受现象乃至音乐接受历史进行深入研究也就显得尤为必要。在本文中,笔者将“音乐接受”定义为:“接受者在自身‘期待视野’的作用下,对音乐作品进行审美感知和理解与阐释,并将这种理解阐释以演奏、评论、研究、教育等形式表现出来的过程”。
Since the middle of the 20th century, with phenomenology, philosophical hermeneutics and receptive aesthetics, the significance of human consciousness for the existence of works of art has been discussed from different perspectives. The “acceptance” has become an increasingly important field for researchers. Because of their non-figurative and non-semantic qualities, the musical works are more dependent on human consciousness than other arts, and their acceptance shows a more complicated situation. The phenomenon of music acceptance and even acceptance of music history In-depth study also appears to be particularly necessary. In this paper, the author defines “music acceptance ” as: “The recipient ’s aesthetic expectation and understanding and interpretation of the musical works under his own” horizon of expectation “, interpreting this understanding in terms of playing and commenting , Research, education and other forms of performance process ”.