学位授予单位 湖南师范大学  

中文关键词 音乐欣赏审美心理; 音乐欣赏教学; 联系; 启示  

导师 朱咏北  

论文级别 硕士  

学科专业名称 音乐学 

中文摘要 不论是音乐欣赏的过程还是音乐欣赏学习的过程，都是一个包括了多种心理功能的综合的动态过程。这使得我们在进行音乐欣赏教学研究时，不可避免地要将这些心理因素纳入我们的考查范围之内，并试图查明这些心理因素与音乐欣赏教学过程及效果可能发生的千丝万缕的联系，以及是否能给我们的音乐欣赏教学研究带来一些有益的启示。音乐审美心理中包含着注意、审美期待、审美态度、音响感知、联想想象、情感体验、理解认识等基本要素，它们共同形成了音乐欣赏中的审美心理结构。音乐欣赏的审美心理过程可划分为音乐审美初始阶段、音乐审美高潮阶段和音乐审美效果延续阶段三个阶段。音乐审美初始阶段涉及的主要审美心理因素是音乐审美注意、审美期望及审美态度；音乐审美高潮阶段涉及的主要审美心理因素是音响感知、直觉与通感，想象联想、情感体验以及理解认识、顿悟与共鸣等。音乐审美效果延续阶段涉及的主要审美心理因素是审美评价。这些审美心理因素都与欣赏者是否能获得深刻的审美体验和审美愉悦有着密不可分的联系。通过研究它们形成的特点及规律，我们获得很多关于音乐欣赏教学的启发。如，根据审美注意形成的条件，在选择欣赏材料时应注意音乐作品相对于学生的冗余度，冗余度适中的作品最能吸引学生的审美注意力；又如，根据通感能有效地帮助欣赏者获得更为直观的审美体验，教师在欣赏课堂上可以适当地采用音画结合等方式，将听觉转化为视觉体验，促进学生对作品的理解；再如，基于对理解认识重要性的认识，我们更加坚定地认为音乐知识技能教学必不可少，它制约着音响感知、想象联想和情感体验的质量，等等。更多的音乐审美心理规律以及与此紧密联系的音乐欣赏教学方法还待广大的音乐教育工作者去探索。 

英文摘要 No matter the process of music criticism or the study of music criticism, it is a complex active process which contains varieties of psychological functions. It makes it compulsory for people to consider these psychological factors as a part of research, when they are involving in the teaching of music criticism, moreover, uncover all the possible comprehensive relationships between these factors and the effects of the teaching process, and find out whether these relationships could lead to some positive revelation. The basic elements of music aesthetic psychology include attention, aesthetic expectation, aesthetic attitude, acoustic perception, imagination, emotional experience, and comprehension, etc. They construct the aesthetic psychological structure of music criticism. The aesthetic psychological process of music criticism can be divided into three stages: initialization, climax, and continuity. The initial stage is mainly concerned with aesthetic attention, expectation, and attitude; the climax stage deals with acoustic perception, intuition, imagination, emotional experience, comprehension, synesthesia, and sympathism; the continuity stage, however, refers to aesthetical criticism. There is an affinity between these factors and whether the audience could obtain a aesthetical experience and pleasure. By exploring their formative characteristics and disciplines, one could gain plenty of enlightenment about music criticism education. For instance, according to the formative conditions of aesthetical attention, one should pay more attention to the redundancy of a piece of music, when selecting a musical example for students, because the more appropriate the redundancy is, the more the students will be attracted. Another example, to help the audience to achieve more intuition istic aesthetical experience, teacher could demonstrate with both music and pictures, by transferring auditory experience to visual experience, thus students could reach a better understanding of music. Based on the importance of cognition, one should realize the indispensability of music theory education, which could limit the quality of acoustic perception, imagination and emotional experience, etc.. Discovering more musical aesthetical psychological disciplines, and establishing more music criticism education methods developed from these disciplines, is still a part of a larger interdisciplinary effort by all the music educationers.  

DOI CNKI::CDMD:10542.2.2004.0728