摘要
自20世纪上半叶以来的现代音乐,让多数爱好音乐的人要么听到的是刺耳而且又没有旋律、不协和的和音,要么听不清摸不着乐曲的组织结构,再加上另人“匪夷所思”的创作意图以及令人“耳晕目眩”的色彩变幻等,以至于爱乐人对现代音乐听之甚少,甚至置若罔闻。作曲家则带着鄙夷的口气说听众的欣赏趣味过于保守,听众又反过来指责作曲家在象牙之塔里孤芳自赏。现代音乐与听者的距离相去甚远,就音乐的可听性而言,其理论缘起何在,是本文讨论的主旨。
The modern music came out around the first half of the 20th Century, and it made a majority music lovers listened dissonance chords without the melody, and confusion with the music structures, unimaginably creation intent as well as dazzle color changes, therefore, persons understood them. The composer criticized audience conservative to enjoy the modern music, on the other hand, the audience censured the musicians indulge in self-admiration. The substance of the article is to discussed the reason of the situation why the modern music far away from the ardience.
出处
《黄钟(武汉音乐学院学报)》
CSSCI
北大核心
2005年第4期105-110,共6页
Huangzhong:Journal of Wuhan Conservatory of Music
关键词
耳朵
人文化
记忆
听觉储备
文化能力
ear, human culture, memory, hearing repertory, cultural capability, enioy hearing