【作者】 刘珊珊；

【导师】 韩万斋；

【作者基本信息】 四川师范大学 ， 音乐学， 2008， 硕士

【摘要】 “音乐是非语义性的艺术”,这似乎已成为不争的定论。这种观念实际上源于语言学概念(即以其所指的关系来判断音乐材料是否所指明确)并得出否定性答案而形成。加之嵇康的《声无哀乐论》的影响,长期以来,人们(尤其是中国的文人们)便多侧重于音乐非语义性的研究,而忽略了对音乐语义性的研究。然而,正如波兰音乐美学家卓菲娅·丽萨在谈到音乐的意义时说:“我们并不问:一个动机、乐句、乐段表示什么意思,而只是问:一个动机、乐句、乐段对于我们来说是如何成为可以理解的?如何具有意义的?我们要研究的也正是音乐这个‘意义’。”“音乐在自己的‘语义场’中在概念和表象上是非单义的、不确定的;音乐的意义在变化着,这变化取决于欣赏者的解释,取决于欣赏者处于什么时代,什么地理区域等等。但尽管如此,音乐毕竟总是意味着什么,传递着某种意义。”——从符号学的角度看,音乐既然“传递着某种意义”,它也同样具有语义性。更何况,音乐的发生与语言是密不可分的。音乐的音调的最原始状态是语言的“长言”与“嗟叹”——“故歌之为长言也,长言之也。说之故言之,言之不足故长言之,长言之不足故嗟叹之,嗟叹之不足故咏歌之”。语义表达的——“言”的最高层次是用咏歌来体现,可见语言的语义性表达并非绝对优于音乐。古文“悦”“说”通用。在《礼记·乐记》的那段著名的论述中,用“说”而不用“悦”,其中的微妙差别就在于:“悦”仅有情感之内涵;而“说”则包含了情感、语义等一切所欲表达的内容。更进一步确证了:与语言中既有“啊、哦、唉、嘿、之、乎、者、也……”等许多非语义性的词语,也有语义性的词语一样,音乐除了非语义性的特征之外,也具有语义性的特征。更多还原

【Abstract】 It is a seemly undisputable fact that music is a non-semantic art. This opinion was in practice formulated based on the nugatory answer to a linguistic conception that whether a music segment is clearly signified is justified on the basis of its signified relations. Together with the influence of“On Music’s Unemotionality”by JiKang, People (especially ancient Chinese intellectuals) have long been focusing on music’s non-semantic research, but have ignored the semantic property of music.Polish music esthetician Sophia Lisa talked about the significance of music in this way:“we did not ask what’s the exact meaning a motive, a phrase or a period express, but only how the motive, the phrase or the period become understandable to us? How they bear the significance? What we are searching is also precisely this `significance ’.”“The concept and the representation of music in its own `semantics field ’ are polysemantic and indefinite. Music significances are changing, and this diversity is decided by appreciators’interpretations, the time or the geographic regions the appreciators live and so on. But for all this, music after all always means something, and conveys some kind of significance.”-- From the semiotics angle, since music“conveys some kind of significance”, it also similarly has the semantics.Further more, music is inseparable with language. The music tonality’s most initial state is the“long word”and“sigh signs”in language--“therefore the song is the long word also. Therefore saying is word, insufficiency of the word results in long word, insufficiency of the long word results in sigh sighs, therefore at last the insufficiency of sigh signs results in chanting song”. Semantic expression’s highest level,“word”, is manifested by chanting song, so it’s obvious that speech’s semantics expression by no means absolutely surpasses music.In the classical Chinese literature,“pleased”and“say”are two interchangeable words . In the classical discourse from the "Ritual Records, Musical Records",“said”was used instead of“pleased”. This subtle difference is that“pleased”only has connotation of the emotion, but“said”contains the emotion, the semantics and so on all expressible . This further irrevocably proves that: As language includes both the non-semantic words like“a, oh, ai, hey, zhi, hu, zhe, ye ......”and semantics words. Music is also endowed with the semantics characteristics besides its non-semantics characteristic.更多还原