听者紧张体验的时间结构分析

E. Negretto
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引用次数: 0

摘要

在听音乐时,听众会感受到一种紧张感,这种紧张感部分是由音乐本身决定的,部分是由他们感知音乐的方式决定的。特别是,听众认识到音乐具有客观结构,其特征是指向特定目标的矢量运动。主观上,他们所经历的紧张感是通过人类意识的短暂运动而发展起来的。这决定了他们在感知层面上的音乐体验。但是,我们如何描述听众对张力的主观体验及其与音乐的“矢量性”的关系呢?哪些是表征这种体验并决定音乐意义和理解的时间结构?我从现象学的角度讨论这个问题,并从一个旨在描述听者所经历的紧张感的理论区分开始。特别地,我分析了人类意识的时间结构和表征其向未来发展的水平:保护,期望和预期。目的是分析他们的动作和与音乐形式的相遇如何决定主题的音乐体验:它的意义和听众对音乐的理解。期望和期待之间的区别也是为了更好地描述未经训练的听众对后调性音乐的体验方式。在这种情况下,听众是否仍然感觉到紧张感?他们能够创造期望和期待吗?我认为他们能够感受到紧张是因为他们在“当下”创造了期望,这可能会导致情绪反应。尽管如此,由于缺乏期待,这种音乐的矢量性方面并没有得到充分的体验。为了发展这个想法,我考虑了基于音色期望的具体情况。通过这种分析,我认为我们可以更好地定义听众的音乐体验,并描述他们在听各种音乐时如何与环境“共鸣”,从而创造出情感、有意义的体验。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Analysis of the temporal structures underlying the listeners' experience of tension
When listening to music, listeners experience a sense of tension which is in part determined by the music itself and in part by the way they perceive it. In particular, listeners recognize that the music has an objective structure characterized by a vectorial movement directed toward a specifi c goal. Subjectively, the sense of tension that they experience is developed through the temporal movement of human consciousness. This determines the kind of musical experience that they have at the perceptual level. But how can we describe the listeners’ subjective experience of tension and its relation to the “vectoriality” of music? Which are the temporal structures that characterize such experience and determine the meaning and understanding of music? I discuss the problem from a phenomenological point of view and starting with a theoretical distinction aimed at describing the sense of tension experienced by the listener. In particular I analyse the temporal structure of human consciousness and the levels that characterize its development toward the future: protention, expectation and anticipation. The goal is to analyse how their movement and the encounter with the form of music determine the subject’s musical experience: its meaning and the listener’s comprehension of music.The distinction between expectation and anticipation is also aimed at better describing the way the vectorialityof post-tonal music is experienced by untrained listeners. In this case, do the listeners still perceive a sense of tension? Are they able to create expectations and anticipations? I argue that they are able to experience tension because they create expectations ‘in the moment’ which may lead to emotional responses. Despite of this the vectorial aspect of this music is not experienced in its fullness because of a lack of anticipation. To develop this idea I take into account the specifi c case of timbre based expectations.Through this analysis I suggest that we can better defi ne the listeners’ musical experience and describe how they ‘resonate’ with the environment to create emotional, meaningful experiences while listening to every kind of music.
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