{"title":"格式塔与乐舞运动","authors":"S. Cattaruzza, W. Coppola","doi":"10.2478/gth-2020-0019","DOIUrl":null,"url":null,"abstract":"Summary The famous essay by Christian von Ehrenfels, Über Gestaltqualitäten (1890), opens up, as is well-known, an important seam not only in the psychology of perception but also of aesthetics, of the psychology and philosophy of music, art and language. Here, in fact, the form understood as ‘Gestalt’ is something concretely audible and visible and not simply a formal abstraction. It is about a pioneering programme rich in ideas and original connections. The author does not mean simply to define the meaning of the concept of Gestalt, but he also sets out a fertile variety of extraordinary applications. In the first place – following a suggestion of Ernst Mach’s – he indicates an application in the field of music, in particular in the exemplary case of melody. In this sense the melody, as a temporal Gestalt, is a more fitting illustration of Gestalt than a spatial Gestalt (e.g. of a geometric figure). But in other cases, as for instance in the case of perception of movement, both temporal and spatial Gestalts are admitted. And a characteristic example is provided by dance. In this article, we shall investigate the comparison between sound movement and visual–gestural movement, and we shall also be discussing the matter by having recourse to the experience of professional dancers.","PeriodicalId":33799,"journal":{"name":"Gestalt Theory","volume":"42 1","pages":"221 - 232"},"PeriodicalIF":0.0000,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Gestalt and Movement between Music and Dance\",\"authors\":\"S. Cattaruzza, W. Coppola\",\"doi\":\"10.2478/gth-2020-0019\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Summary The famous essay by Christian von Ehrenfels, Über Gestaltqualitäten (1890), opens up, as is well-known, an important seam not only in the psychology of perception but also of aesthetics, of the psychology and philosophy of music, art and language. Here, in fact, the form understood as ‘Gestalt’ is something concretely audible and visible and not simply a formal abstraction. It is about a pioneering programme rich in ideas and original connections. The author does not mean simply to define the meaning of the concept of Gestalt, but he also sets out a fertile variety of extraordinary applications. In the first place – following a suggestion of Ernst Mach’s – he indicates an application in the field of music, in particular in the exemplary case of melody. In this sense the melody, as a temporal Gestalt, is a more fitting illustration of Gestalt than a spatial Gestalt (e.g. of a geometric figure). But in other cases, as for instance in the case of perception of movement, both temporal and spatial Gestalts are admitted. And a characteristic example is provided by dance. In this article, we shall investigate the comparison between sound movement and visual–gestural movement, and we shall also be discussing the matter by having recourse to the experience of professional dancers.\",\"PeriodicalId\":33799,\"journal\":{\"name\":\"Gestalt Theory\",\"volume\":\"42 1\",\"pages\":\"221 - 232\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2020-12-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Gestalt Theory\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.2478/gth-2020-0019\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Gestalt Theory","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.2478/gth-2020-0019","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
克里斯蒂安·冯·埃伦费尔斯(Christian von Ehrenfels)的著名文章,Über Gestaltqualitäten(1890),众所周知,不仅在感知心理学方面,而且在美学、音乐、艺术和语言的心理学和哲学方面,开辟了一条重要的接缝。事实上,在这里,被理解为“格式塔”的形式是一种具体的可听和可见的东西,而不仅仅是一种形式抽象。它讲述的是一个富有创意和独创性的项目。作者并不是简单地定义格式塔概念的含义,但他也提出了丰富多彩的非凡应用。首先,根据Ernst Mach的建议,他指出了音乐领域的应用,特别是在旋律的例子中。从这个意义上说,旋律作为时间格式塔,比空间格式塔(例如几何图形)更适合格式塔。但在其他情况下,例如在运动感知的情况下,时间格式塔和空间格式塔都被接受。舞蹈提供了一个典型的例子。在这篇文章中,我们将调查声音动作和视觉手势动作之间的比较,我们也将通过参考专业舞者的经验来讨论这一问题。
Summary The famous essay by Christian von Ehrenfels, Über Gestaltqualitäten (1890), opens up, as is well-known, an important seam not only in the psychology of perception but also of aesthetics, of the psychology and philosophy of music, art and language. Here, in fact, the form understood as ‘Gestalt’ is something concretely audible and visible and not simply a formal abstraction. It is about a pioneering programme rich in ideas and original connections. The author does not mean simply to define the meaning of the concept of Gestalt, but he also sets out a fertile variety of extraordinary applications. In the first place – following a suggestion of Ernst Mach’s – he indicates an application in the field of music, in particular in the exemplary case of melody. In this sense the melody, as a temporal Gestalt, is a more fitting illustration of Gestalt than a spatial Gestalt (e.g. of a geometric figure). But in other cases, as for instance in the case of perception of movement, both temporal and spatial Gestalts are admitted. And a characteristic example is provided by dance. In this article, we shall investigate the comparison between sound movement and visual–gestural movement, and we shall also be discussing the matter by having recourse to the experience of professional dancers.