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http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/10089完整後設資料紀錄
| DC 欄位 | 值 | 語言 |
|---|---|---|
| dc.contributor.advisor | 楊建章 | |
| dc.contributor.author | Yu-Fen Huang | en |
| dc.contributor.author | 黃郁芬 | zh_TW |
| dc.date.accessioned | 2021-05-20T21:01:07Z | - |
| dc.date.available | 2012-08-22 | |
| dc.date.available | 2021-05-20T21:01:07Z | - |
| dc.date.copyright | 2011-08-22 | |
| dc.date.issued | 2011 | |
| dc.date.submitted | 2011-08-21 | |
| dc.identifier.citation | 參考文獻
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Translated and edited by Geoffrey Payzant. 1986. On the Musically Beautiful : A Contribution Towards the Revision of the Aesthetics of Music. Indiana: Hackett. Hargreaves, David J. The Developmental Psychology of Music. New York: Cambridge University Press. Hjort, Mette and Laver, Sue. Ed. 1997. Emotion and the Arts. New York: Oxford University Press. Jones, Mari Riess and Holleran, Susan. Ed. 1992. Cognitive Bases of Music Communication. Washington DC: American Psychological Association. Juslin, Patrik N. and Sloboda, John A. Ed. 2001. Music and Emotion: Theory and Research. New York: Oxford University Press. Kivy, Peter. 1984. Sound and Semblance. Princeton, N.J.: Princeton University Press. ———. 1989. Sound Sentiment: an Essay on the Musical Emotions. Philadelphia: Temple University Press. ———. 2002. Introduction to a Philosophy of Music. New York: Oxford University Press. Koffka, Kurt. 1935. Principles of Gestalt Psychology. New York: Harcourt, Brace & World. Kohler, Wolfgang. 1947. Gestalt Psychology: an Introduction to New Concepts in Modern Psychology. New York: New American Library. ———. 1969. The Task of Gestalt Psychology. Princeton: Princeton University Press. Krausz, Michael edit. 1993. The Interpretation of Music: Philosophical Essays. New York: Oxford University Press. Krumhansl, Carol L. 1990. Cognitive Foundations of Musical Pitch. New York: Oxford University Press. Langer, Susanne K. 1953. Feeling and Form: A Theory of Art Developed from Philosophy in a New Key. New York: Scribner. ———. 1957. Problems of Art. New York: Charles Scribner's Sons. ———. 1962. Philosophical Sketches. Baltimore: Johns Hopkins Press. ———. 1969. Philosophy in a New Key. Cambridge Mass.: Harvard University Press. Lerdahl, Fred and Ray, Jackendoff. 1983. A Generative Theory of Tonal Music. London: MIT Press. Lerdahl, Fred. 2001. Tonal Pitch Space. New York: Oxford University Press. Lewin, David. 1987. Generalized Musical Intervals and Transformations. New Haven, CT: Yale University Press. ———. 1993. Musical Form and Transformation: Four Analytic Essays. New Haven, CT: Yale University Press. Lewin, Kurt. 1969. Principles of Topological Psychology. New York: McGraw-Hill. Lippman, Edward A. 1992. A History of Western Musical Aesthetics. Lincoln: University of Nebraska Press. Meyer, Leonard B. 1956. Emotion and Meaning in Music. Chicago: University of Chicago Press. ———. 1973. Explaining Music: Essays and Explorations. Berkeley: University of California Press. ———. 1996. Style and Music: Theory, History, and Ideology. Chicago: University of Chicago Press. Narmour, Eugene. 1992. The Analysis and Cognition of Melodic Complexity. Chicago: University of Chicago Press. Radocy, Rudolf E. and Boyle, J. David. Psychological Foundations of Musical Behavior. Illinois: Charles C Thomas. Rothfarb, Lee A. Ed. 1991. Ernst Kurth: Selected Writings. New York: Cambridge University Press. Scruton, Roger. 1997. The Aesthetics of Music. Oxford: Clarendon Press. Sloboda, John. 2005. Exploring the Musical Mind. New York: Oxford University Press. Storr, Anthony. 1992. Music and the Mind. New York: Maxwell Macmillan International. Zbikowski, Lawrence M. 2002. Conceptualizing Music, Cognitive Structure, Theory, and Analysis. New York: Oxford University Press. Eduard Hanslick著，陳慧珊譯，1997，《論音樂美 : 音樂美學的修改芻議》，台北：世界文物。 蘇珊˙郎格(Susanne K. Langer)著，劉大基等譯，1991，《情感與形式》，台北：商鼎文化。 蘇珊˙郎格(Susanne K. Langer)著，滕守堯譯，2006，《藝術問題》，南京：南京出版社。 Edward Lippman著，方銘健譯，2000，《西洋音樂美學史》，台北：國立編譯館。 倫納德˙邁爾(Leonard B. Meyer)著，何乾三譯，1991，《音樂的情感與意義》，北京：北京大學。 于潤洋著，2000，《現代西方音樂哲學導論》，長沙：湖南教育。 Kohler, Wolfgang著，李姍姍譯，1998，《完形心理學》，台北：桂冠。 期刊論文 Ahlberg, Lars-Olof. 1994. “Susanne Langer on Representation and Emotion in Music.” The British Journal of Aesthetics, 34/1, pp. 69-80. Buehrer, Ted. “Prolongational Structure in Bartok’s Pitch- Centric Music: A Preliminary Study.” Indiana Theory Review, 18/2, pp.1-14. Frego, R. J. David. 1999. “Effects of Aural and Visual Conditions on Response to Perceived Artistic Tension in Music and Dance.” Journal of Research in Music Education, 47/1, pp. 31-43. Hansen, Forest. 2004. “Response to Kingsley Price, ‘How Can Music Seem To Be Emotional’.' Philosophy of Music Education Review, 12/1, pp. 76-9. Kamenetsky, Stuart B. 1997. “Effect of Tempo and Dynamics on the Perception of Emotion in Music.” Psychology of Music, 25/2, pp. 149-160. Korte, Melissa E. 2002. “Leonard B. Meyer: On the Threshold of Musical Semiotics.” Semiotica, 142, 1/4, pp. 447-460. Kruse, Felicia E. 2005. “Emotion in Musical Meaning: A Peircean Solution to Langer's Dualism.” Transactions of the Charles S. Peirce Society, 41/4, pp. 762-78. Lewin, David. 1986. “Music Theory, Phenomenology, and Modes of Perception.” Music Perception, 4/3, pp327-392. McAllester, David P. 1957. “Review: Emotion and Meaning in Music by Leonard B. Meyer.” American Anthropologist, New Series, 59/5, p.940. McClelland, Ryan. 2006. “Metric Dissonance in Brahms’s Piano Trio in C Minor, Op. 101” Integral, 20, pp.1-42. Mcnaspy, C. J. 1982. “Meaning in Music.” Thought, 57/224, pp. 84-93. Nering, Marguerite. 2004. “Response to Kingsley Price's ‘How Can Music Seem To Be Emotional’.' Philosophy of Music Education Review, 12/1, pp. 71-5. Ockelford, Adam. 2006. “Implication and Expectation in Music: A Zygonic Model.” Psychology of Music, 34/1, pp. 81-142. Portnoy, Julius. 1957. “Review: Emotion and Meaning in Music by Leonard B. Meyer.” The Journal of Aesthetics and Art Criticism, 16/2, pp. 285-286. ———. 1957. “Review: Explaining Music: Essays and Explorations by Leonard B. Meyer.” The Journal of Aesthetics and Art Criticism, 33/3, pp. 351-354. Price, Kingsley. 2004. “How Can Music Seem To Be Emotional?” Philosophy of Music Education Review, 12/1, pp. 30-42. Roeder, John. 2004. “Rhythmic Process and Form in Bartok’s Syncopation.” College Music Symposium, 44, pp. 43-57. Smith, Peter H. 2001. “Brahms and the Shifting Barline: Metric Displacement and Formal Process in the Trios with Wind Instrument” Brahms studies, 3, pp.191-229. Titchener, John M. and Broyles, Michael E. 1973. “Meyer, Meaning, and Music.” The Journal of Aesthetics and Art Criticism, 32/1, pp. 17-25. Treitler, Leo. 1959. “Harmonic Procedure in the Fourth Quartet of Bela Bartok.” Journal of Music Theory, 3/2, pp.292-298. | |
| dc.identifier.uri | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/10089 | - |
| dc.description.abstract | 音樂的張力特徵是一個被廣泛討論的美學議題，本文從Susanne K. Langer及Leonard B. Meyer的理論出發，透過討論David Lewin和Kurt Koffka對於時間及張力的論述，指引出「音樂張力作為時間性的動態過程」此一研究路徑。Langer將張力作為連結情感與音樂形式的重要聯繫，本文透過對於其對於張力及時間意象(image of time)概念的探討，釐清音樂的張力及時間結構兩者之間的關係。
在本文中，Lewin的現象學觀點及Koffka的格式塔(Gestalt)心理學理論提供了重新檢視音樂張力的視角，透過Lewin的現象學分析，音樂事件間的張力關係成為展開的時間向量(unfolding duration-interval vector)，並具有連續性及多層次的結構，本文將時間向量的概念置於Koffka的的「力場」中，從而提出「動態張力系統」的樂曲分析方法，Brahms第二號小提琴奏鳴曲第一樂章及Bartok第四號弦樂四重奏第五樂章的樂曲片段不但例示了不同節奏型態以及其它音樂元素所構成的各種張力關係，也展現了隨著時間不斷變化的動態張力結構。 | zh_TW |
| dc.description.abstract | Musical tension is a frequently discussed aesthetic issue. Proceeding from Susanne K. Langer and Leonard B. Meyer’s theories, this thesis utilizes related concepts of time and tension in David Lewin and Kurt Koffka’s theories to indicate the researching path that regarding musical tension as a dynamic process. In Langer’s theory, “tension” is a crucial concept connecting musical form and emotion. Through the investigation of her two concepts—tension and the image of time, this thesis clarifies the correlation between tension and timing structure.
In this thesis, David Lewin’s phenomenological perspective and Kurt Koffka’s Gestalt psychology provide new horizons to reconsider the musical tension. The tensional relationships between musical events turn into the “unfolding duration- interval vectors” and exhibit consecutive multi-hierarchical structures. The author introduces the unfolding duration- interval vector into Koffka’s force field. Accordingly, the method of “dynamic tensional system” is proposed to analyze music. The examples of Brahms’ Violin Sonata No.2 mov.1 and Bartok’s String Quartet No.4 mov.5 not only demonstrate diverse tensional relationships among different rhythmic patterns and other musical elements but also illustrate how the dynamic tensional structure varies through the passage of time. | en |
| dc.description.provenance | Made available in DSpace on 2021-05-20T21:01:07Z (GMT). No. of bitstreams: 1 ntu-100-R94144005-1.pdf: 2285643 bytes, checksum: 8b4ac6698cccef9ef25154751e87fdf3 (MD5) Previous issue date: 2011 | en |
| dc.description.tableofcontents | 目錄
序論 1 第一章 從音樂張力結構到時間 9 第一節 Susanne K. Langer的形式、張力與時間 9 1.1.1 音樂形式與情感張力 9 1.1.2 音樂張力表達的情感特徵 11 1.1.3 音樂張力與時間意象(image of time) 12 1.1.4 音樂張力及時間意象的特殊性 14 第二節 Leonard B. Meyer的音樂張力變化過程 17 1.2.1 音樂形式與聆聽者心理張力 17 1.2.2 音樂張力與連續時間 19 1.2.3 音樂時間的可能性 22 第二章 音樂時間向量(duration-interval vector)及張力動態系統 24 第一節 David Lewin的音樂時間連續性及多層次張力 24 2.1.1 音樂時間連續性 24 2.1.2 音樂時間與多層次張力 26 第二節 從Kurt Koffka出發的音樂張力動態系統 32 2.2.1 音樂張力的時間性 32 2.2.2 逐漸凝聚或分離的力 33 2.2.3 動力從屬結構(dynamic dependency) 37 2.2.4 動力從屬結構的變化 39 第三章 樂曲中張力動態系統的時間性 42 第一節 張力與時間概念的圖像化 42 3.1.1 時間向量的圖像化 42 3.1.2 時間向量形成凝聚或分開的力 45 3.1.3 時間向量形成動力從屬結構 45 3.1.4 時間向量間的遞迴(recursive)關係 46 第二節 Brahms第二號小提琴奏鳴曲第一樂章中的節奏及和聲張力動態系統 49 3.2.1 節奏動力從屬結構的凝聚及分離 50 3.2.2 和聲動力從屬結構 58 第三節 Bartok第四號弦樂四重奏第五樂章中節奏、中心音張力動態系統及其交互作用 62 3.3.1. 節奏型態的凝聚、分開及動力從屬結構 63 3.3.2 中心音動力從屬結構 84 3.3.3 節奏及中心音動力從屬結構的交互關係 90 結論 96 參考文獻 98 | |
| dc.language.iso | zh-TW | |
| dc.title | Susanne K. Langer論音樂張力與時間性: 多層次分析初探 | zh_TW |
| dc.title | Susanne K. Langer's Theory of Tension and Temporality in Music: Proposal of a Multilayer Analysis | en |
| dc.type | Thesis | |
| dc.date.schoolyear | 99-2 | |
| dc.description.degree | 碩士 | |
| dc.contributor.oralexamcommittee | 王櫻芬,蕭慶瑜 | |
| dc.subject.keyword | 音樂張力,音樂時間,Susanne K. Langer,Leonard B. Meyer,David Lewin,Kurt Koffka, | zh_TW |
| dc.subject.keyword | musical tension,musical time,Susanne K. Langer,Leonard B. Meyer,David Lewin,Kurt Koffka, | en |
| dc.relation.page | 103 | |
| dc.rights.note | 同意授權(全球公開) | |
| dc.date.accepted | 2011-08-22 | |
| dc.contributor.author-college | 文學院 | zh_TW |
| dc.contributor.author-dept | 音樂學研究所 | zh_TW |
| 顯示於系所單位： | 音樂學研究所 | |
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