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音乐欣赏中,音乐意象与意境是在审美客体的“刺激”“召唤”下,在审美主体的感知、情感、理解、想象中同构地形成的,这其间审美主体的个性或类型会对审美意象的形成产生积极作用。由于韩愈、白居易、李贺在审美个性或类型上有着明显的差异,因而他们欣赏音乐时也就出现了或偏重于感知,或偏重于理解,或过分偏重于想象的特点,这才使得他们所写的三篇“摹写声音之至文”具有了“惊天”“移人”“泣鬼”的不同审美效应。
In music appreciation, the image and mood of music are formed in the sense, emotion, understanding and imagination of the aesthetic subject under the “stimulation ” “call ” of the aesthetic object, during which the personality of the aesthetic body or Type will have a positive effect on the formation of aesthetic imagery. As Han Yu, Bai Juyi and Li He have obvious differences in aesthetic personality or type, they appear or emphasize perception or emphasis on understanding or excessive emphasis on imagination when they enjoy music, which makes them The three articles written in “The Voice of Describing and Writing” have the different aesthetic effects of “shaking”, “moving”, “weeping”.