音乐的定义

对音乐的基本属性或本质特征的描述

音乐的定义(英語:definition of music)力求对音乐的基本属性或本质特征给出简洁准确的解释,涉及定义音乐”一词含义的过程。许多权威人士给出了音乐的定义,但事实证明,定义音乐比最初想象的要困难得多,人们对此争论不休。许多解释从音乐作为“有组织的声音”的概念开始,但他们也强调这可能是一个过于宽泛的定义,并列举了“有组织的声音”中未被认为是音乐的特例,例如人类语音和存在于自然工业环境中的声音[1]。此外,文化对音乐认知的影响使定义音乐的问题更加复杂。

牛津简明词典》将“音乐”(music)定义为“结合声乐或器乐(或两者)以产生形式之美、和谐和情感表达的艺术”[2]。然而,一些音乐类型,如噪音音乐具象音乐,通过使用不被广泛认为是音乐,但具有美感或和谐的声音来挑战这类观点,如随机产生的电子失真声频反馈无线电噪声嘈杂声和利用作曲不确定性过程产生的声音[3][4]

美国作曲家约翰·凯奇(1912-1992)创作的音乐作品《4分33秒》(1952)经常被引用来反映定义音乐的困境。书面乐谱记录了三个乐章,表演者出现在舞台上,用手势或其他方式示意表演开始,然后在整个表演期间不发出任何声音,用手势示意各个乐章及整场演出的结束。听众只能听到房间中可能出现的任何环境声响。一些人认为《4分33秒》不是音乐,因为除其他原因外,它不包含传统意义上被认为是“音乐”的声音,作曲家和表演者不能控制和组织听众听到的声音[5]。另一些人则认为它是音乐,因为传统意义上的乐声定义是多余且武断的,对声音组织的控制是由作曲家和表演者通过手势实现的,他们把听众听到的东西分成特定的章节部分并转换成听众能理解的形式[6]

音乐的概念

由于音乐基本概念的差异,许多文化的语言中没有一个可以准确地翻译“music”的词,使之匹配西方文化通常理解的概念[7]。因纽特人和大多数北美印第安人的语言都没有一个关于音乐的一般术语。在阿兹特克人中,古代墨西哥的修辞、诗歌、舞蹈和器乐理论使用纳瓦特尔语术语In xochitl-in kwikatl来指代音乐和其他诗歌的语言和非语言元素的复杂组合,并只为歌唱的表达保留Kwikakayotl(或cuicacayotl)一词。

噪音与音乐

定义

有组织的声音

语言

Levi R. Bryant对音乐的定义不是一种语言,而是一种基于标记的、解决问题的方法,与数学相当。 [8]

音乐通用

社会建构

具体定义

克利夫顿

纳蒂兹

诗意过程 审美过程
作曲家(制作人) 声音(痕迹) 听者(接收者)

泽纳基斯

参见

参考资料

引用

来源

  • Ashby, Arved, ed. 2004. The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology. Eastman Studies in Music 29. Rochester, New York: University of Rochester Press. ISBN 1-58046-143-3.
  • Berio, Luciano, Rossana Dalmonte, and Bálint András Varga. 1985. Two Interviews, translated and edited by David Osmond-Smith. New York: Marion Boyars. ISBN 0-7145-2829-3.
  • Burton, Russell L. 2015. "The Elements of Music: What Are They, and Who Cares? In Music: Educating for Life: Adelaide, 30 September – 2 October 2015: ASME XXth National Conference Proceedings, edited by Jennifer Rosevear and Susan Harding, 22–28. Parkville, Victoria: The Australian Society for Music Education. ISBN 9780980379242.
  • Chou Wen-chung. 1966a. "Open Rather Than Bounded". Perspectives of New Music 5, no. 1 (Autumn–Winter): 1–6.
  • Chou Wen-chung. 1966b. "Varèse: A Sketch of the Man and His Music". The Musical Quarterly 52, no. 2 (April): 151–170.
  • Clifton, Thomas. 1983. Music as Heard: A Study in Applied Phenomenology. New Haven and London: Yale University Press. ISBN 0-300-02091-0.
  • The Concise Oxford Dictionary. Allen, R. E., ed. 1992. Clarendon Press. Oxford: 781
  • Dodd, Julian. 2013. "Is John Cage's 4′33″ Music?". You Tube/Tedx (accessed 14 July 2014).
  • Gann, Kyle. 2010. No Such Thing as Silence: John Cage's 4′33″. New Haven and London: Yale University Press. ISBN 0300136994.
  • Goldman, Richard Franko. 1961. "Varèse: Ionisation; Density 21.5; Intégrales; Octandre; Hyperprism; Poème Electronique. Instrumentalists, cond. Robert Craft. Columbia MS 6146 (stereo)" (in Reviews of Records). The Musical Quarterly 47, no. 1. (January):133–134.
  • Hegarty, Paul, 2007. Noise/Music: A History. Continuum International Publishing Group. London: 3-19
  • Kania, Andrew. 2014. "The Philosophy of Music", The Stanford Encyclopedia of Philosophy, Spring 2014 edition, edited by Edward N. Zalta.
  • Leon-Portilla, Miguel. 2007. "La música de los aztecas / Music Among Aztecs", Pauta, no. 103:7–19.
  • Levitin, Daniel J. 2006. This Is Your Brain on Music: The Science of a Human Obsession. New York: Dutton. ISBN 0-525-94969-0.
  • Molino, Jean. 1975. "Fait musical et sémiologue de la musique", Musique en jeu, no. 17:37–62.
  • Nattiez, Jean-Jacques. 1990. Music and Discourse: Toward a Semiology of Music, translated by Carolyn Abbate. Princeton: Princeton University Press. ISBN 0-691-09136-6.
  • Nettl, Bruno. 1989. Blackfoot Musical Thought: Comparative Perspectives. Ohio: The Kent State University Press. ISBN 0-87338-370-2.
  • Nettl, Bruno. 2005. "The Art of Combining Tones: The Music Concept". The Study of Ethnomusicology. 2nd ed. Chicago: University of Illinois Press, pp. 26–37 ISBN 0-252-07278-2.
  • Priest, Eldritch. 2013. Boring Formless Nonsense: Experimental Music and The Aesthetics of Failure. New York: Bloomsbury Publishing. ISBN 9781441122131.
  • Robertson–de Carbo, Carol Elizabeth. 1976. "Tayil as Category and Communication among the Argentine Mapuche: A Methodological Suggestion". Yearbook of the International Folk Music Council 8:35–42.
  • Rosch, Eleanor. 1973. "Natural Categories". Cognitive Psychology 4, no. 3 (May): 328–350.
  • Sakata, Lorraine. 1983. Music in the Mind, The Concepts of Music and Musicians in Afghanistan. Kent: Kent State University Press. ISBN 087338265X
  • Schafer, R. Murray. 1996. "Music and the Soundscape", in Classic Essays on Twentieth-Century Music: A Continuing Symposium, edited by Richard Kostelanetz and Joseph Darby, with Matthew Santa, pp. 221-231 New York: Schirmer Books; London: Prentice Hall International. ISBN 0-02-864581-2 (pbk).
  • Varèse, Edgard, and Chou Wen-chung. 1966. "The Liberation of Sound". Perspectives of New Music 5, no. 1 (Autumn–Winter): 11–19.
  • Watson, Ben. n.d. "Noise as Permanent Revolution". [需要完整来源]
  • Xenakis, Iannis. 1971. Formalized Music: Thought and Mathematics in Composition. Bloomington and London: Indiana University Press.

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