English  |  正體中文  |  简体中文  |  Post-Print筆數 : 27 |  Items with full text/Total items : 113822/144841 (79%)
Visitors : 51814839      Online Users : 329
RC Version 6.0 © Powered By DSPACE, MIT. Enhanced by NTU Library IR team.
Scope Tips:
  • please add "double quotation mark" for query phrases to get precise results
  • please goto advance search for comprehansive author search
  • Adv. Search
    HomeLoginUploadHelpAboutAdminister Goto mobile version
    Please use this identifier to cite or link to this item: https://nccur.lib.nccu.edu.tw/handle/140.119/33151


    Title: 音樂聆聽經驗的意義建構歷程:以十二位大學生聽、說歌曲〈菊花夜行軍〉為例
    Authors: 許馨文
    Hsu, Hsin-wen
    Contributors: 吳翠珍
    許馨文
    Hsu, Hsin-wen
    Keywords: 音樂
    聆聽
    意義建構
    紮根理論方法
    交工樂隊
    music
    listening
    meaning construction
    Grounded Theory
    Labor Exchange Band
    Date: 2003
    Issue Date: 2009-09-17 15:38:11 (UTC+8)
    Abstract: 本文旨在探索被「常識化」、「瑣碎化」的一般人的聆聽感受與詮釋,以十二位大學生對歌曲〈菊花夜行軍〉的聆聽論述為分析對象,希望從他們所敘說的「個人真實」中,探究「聆聽者對自身聆聽經驗賦予意義的歷程」。本文具體的研究問題有二:首先,聆聽者如何與一首歌曲文本進行「互動」,將「非語意」的音樂聲響與聆聽感受賦予意義?這些意義是透過哪些敘說類型表達出來?其次,形塑聆聽意義的關鍵因素為何?這些因素如何發生作用?

    研究結果發現,人們置身音樂聲響的環抱之初,感受到的是「渾沌」的情緒現身:一種「身處陌生的音樂聲響,意識不知該指向何方」的狀態。為了「領會/理解」自己所聽到的音樂文本「是什麼」,聆聽者朝向自身的「先前理解」尋求答案。在獲得「領會/理解」的歷程中,聆聽者以「分段呼應聲響線索」、「綜合聆聽感受為一意境」、「提出主觀評價」、「拼湊語意線索」、「參照已知歌詞做詮釋」等「意義建構模式」與文本進行互動,此時「先行具有」與「先行掌握」就像折射鏡,讓聆聽者看到當下自己所「先前見到」的聲響線索和語意線索,與自身過去的生命經驗有何牽連。同時間,聆聽感受也就在自身「先前理解」的映照下逐漸「語意化」、「邏輯化」,而獲得具體的意義。這些意義透過各種「意義建構類型」具體地轉化為言語,而以「聯想故事/意象/意境」、「共感性格」、「形式樣態」、「主觀評價」等「譬喻校正」的語彙,以及「提出形式術語」、「搜尋語意線索」、「參照歌詞詮釋」等相對明確的敘說方式給出。

    簡言之,「音樂聆聽經驗的意義建構」就像是「究竟」與「認識」的歷程,在此之中,聆聽意義在辨證與給出的過程中與原初的「渾沌情緒」逐漸脫鈎。然而,儘管「音樂聆聽經驗的意義建構」不能充分表達聆聽者當下的體會,但這不表示聆聽者所敘說、分享的故事與感覺不夠「原真」而沒有價值;相反地,聆聽者以自身的意識與生命經驗與文本彼此呼應,從而給作品多采多姿的意義,不但豐富了音樂的價值,更讓聆聽者藉此了解到作品與自身的關係,並且從意義的映照當中,看見自己某個當下的處境、價值與慾求。
    The purpose of this thesis is to explore people’s listening experience, and to establish an interpretative grounded theory about the process of personal musical meaning construction, which is usually thought to be trivial.

    Several research questions are to be answered under the research purpose above: First, how do listeners interact with a piece of music and locate certain personal meanings in minds for the originally non-semantic acoustic sounds? Second, in which ways are these personal meanings given by oral narrations? Third, what’s the crucial factor affecting listeners’ idea about their feelings? How does the factor influence the process of meaning construction?

    To answer these questions, the researcher interviewed 12 college students, asking them to talk about their personal views toward one musical text: Labor Exchange Band’s song titled “The Night March of the Chrysanthemums” before and after reading the lyrics.

    The collective narratives indicate that interviewees felt an ineffable “chaos” state, in which they tried to position their consciousness, once embraced in the sonorous envelop of the musical text. To understand what and why some feelings were aroused in their mind, interviewees searched for the “pre-understanding” themselves, and then the “pre-possession” and the “pre-grasp” in their personal life experience let them make sense of certain “musical attributes” in the musical text, such as melody, harmony, rhythm, timber, language, linguistic meaning. Moreover, the interaction between these musical attributes and listeners’ pre-understanding invented some acoustic or semantic clues, and then produced vivid meanings for the previous chaos listening experience.

    On the other hand, the personal musical meanings were given in three ways: First, the interviewees expressed their feelings by “metaphorical correction”, which consists of the following four kinds of narrative form: “Associated story, image, or one abstract artistic conception”, “synesthesia character”, “formal condition” and “subjective judgment”. Second, they identified what they had heard by “formal jargons”, which are taken by generally musicological common consensus. Third, they elaborated their musical meanings by “semantic clues” identified by cultural system they aware of, as well as the lyric content they had just caught.

    In sum, the process of musical meaning construction is like a journey of making sense what the listener has heard within personal psychological history. In the process, the fluid meaning interpreted by the listener might be different from the primitive moved arousal. However, it doesn’t indicate that the reflective discourses are not “authentic” enough or too trivial. On the contrary, the idiosyncratic narratives from private life experience not only bestow diverse values on the musical text, but also represent the relationship between the listener and the music, mirroring the interpreter’s condition, value and desire at a particular moment.
    Reference: 中文部分:
    何衛平 (2002)。《高達瑪》。台北:生智
    余德慧 (2001)。《詮釋現象心理學》。台北:心靈工坊文化。
    ------ (2003)。《生命史學》。台北:心靈工坊文化。
    洪漢鼎 (1993)。〈序言〉。收錄於Gadamar著,洪漢鼎譯:《詮釋學第一卷:《真理與方法》:哲學詮釋學的基本特徵。台北:時報。
    胡台麗 (1992)。〈藝術與人類學〉。收錄於莊英章等編著:《文化人類 學(下)》。台北:國立空中大學。
    胡幼慧、姚美華 (1996)。〈轉型中的質性研究〉。收錄在胡幼慧編:《質性研究:理論、方法及本土女性研究實例》。台北:巨流。
    徐兆泉編著 (2001)。《台灣客家話辭典》。台北:南天書局。
    楊兆禎 (1974)。《客家民謠:九腔十八調的研究》。台北:育英。
    黃曬莉 (1996)。《中國人的人際和諧和衝突》。國立台灣大學心理研究所博士論文。
    畢恆達 (1996)。〈詮釋學與質性研究〉。收錄於胡幼慧編:《質性研究:理論、方法及本土女性研究實例》。台北:巨流。
    滕守堯 (1998)。《審美心理描述》。四川人民出版社。
    劉仲冬 (1996)。〈量與質社會研究的爭議及社會研究未來的走向及出路〉。收錄於胡幼慧編:《質性研究:理論、方法及本土女性研究實例》。台北:巨流。
    鄭君仲 (2000)。《我迷,故我在─流行音樂樂迷和流行音樂文本互動關係之探索》。世新大學傳播研究所碩士論文。
    謝俊逢 (1995)。〈客家的音樂與文化:以山歌為中心〉。收錄於徐正光編:《徘徊於族群和現實之間:客家社會與文化》。台北:正中。
    蘇郁惠 (1996)。〈音樂認知技巧:一般認知技巧與音樂領域的整合〉。《新竹師院學報》。9: 469-486。國立新竹師範學院。
    西文部份:
    和田 誠、村上春樹著,賴明珠譯 (1998)。《爵士群像》。台北:時報
    Ackerman, D.著,莊安祺譯 (1993)。《感官之旅》(A Natural History of the Senses)。台北:時報
    Alfonso, R. (1996). Musical Understanding: Theory of Musical Description or Theory of Musical Perception? A Doctorial Dissertation in Philosophy, University of Hawaii.
    Aiello, R. (1994). Music and Language: Parallels and Contrasts。In Aiello (ed.). Musical Perceptions. New York: Oxford University Press.
    Babbie, E.著,李美華等譯 (1998)。《社會科學研究方法》(The Practice of Social Research)。台北:時英。
    Beament, J. (2001). How We Hear Music: The Relationship between Music and the Hearing Mechanism. The Boydell Press. Woodbridge, U.K.
    Blacking, J. (1982). The Structure of Musical Discourse: The Problem of the Song Text. In 1982 Yearbook for Traditional Music. International Council for Traditional Music.
    -------------(1995). Music, Culture and Experience. In Byron, R. (ed.). Music, Culture and Experience: Selected Papers of John Blacking. The University of Chicago Press.
    Bogdan, R. & Biklen, S. K.著,李奉儒等譯 (2001)。《質性教育研究》(Qualitative Research for Education: an Introduction to Theory and Methods)。嘉義:濤石文化。
    Brown, C.著,林芳如譯 (1993)。《搖滾樂的藝術》(The Art of Rock and Roll)。台北:萬象。
    Cassirer, E.著,甘陽譯 (1990)。《人論:人類文化哲學導引》。台北:桂冠。
    Chaffee, S. (1985). Popular Music and Communication Research: An Editorial Epilogue. In Communication Research. 12(3). Sage Publications Inc.
    Crafts, S., Cavicchi, D., Keil, C. & the Music in Daily Life Project. (eds.). (1993). My Music. Wersleyan University Press.
    Cook, N. (1994). Perception: A Perspective from Music Theory. In Aiello, R. (ed.). Musical Perceptions. Oxford University Press.
    ---------(1998). Analysing Musical Multimedia. Oxford University Press.
    ---------(2001). Theorizing Musical Meaning. In Music Theory Spectrum. University of California Press.
    Dalhaus, C. (1989). The Idea of Absolute Music. Chicago: University of Chicago Press.
    De Saussure, F. (1959). Course in General Linguistics. Trans. by Baskin, W. In Bally, C. and Sechehaye A. (eds.). The Philosophical Library, Inc.
    Feld, S. (1994). Communication, Music and Speech about Music. In Music Grooves. The University of Chicago Press. Revised from the former version (1984). In Yearbook for Traditional Music. 6(1): 1-18.
    Gadamer, H. G..著,洪漢鼎譯 (1993)。《詮釋學第一卷:《真理與方法》:哲學詮釋學的基本特徵》。台北:時報
    Gfeller, K. E. (1990). Music as Communication. In Robert F. Unkefer (ed.). Music Therapy in the Treatment of Adults with Mental Disorders. Schirmer Books. N.Y.
    Goldstein, E. B. (1984). Sensation and Perception. Wadsworth Publishing Company. Belmont, C.A.
    Hanslick, E.著,陳慧珊譯 (1997)。《論音樂美:音樂美學的修改芻議》(Vom Musikalisch-Schönen)。台北:世界文物。
    Heidegger, M.著,王慶節、陳嘉映譯 (2002)。《存在與時間》(Sein und Zeit)。台北:桂冠。
    Heidegger, Martin著,孫周興譯 (1993)。《走向語言之途》(Unterwegs zur Sprache)。台北:時報。
    Jackson, T. A. (2000). Spooning Good Singing Gum: Meaning, Association, and Interpretation in Rock Music. In Current Musicology. 69: 7-36. NY: Columbia University, Department of Music.
    Jensen, K. B. (1995). The Social Semiotics of Mass Communication. London: SAGE Publications Ltd.
    Kivy, P. (1987). How Music Moves. In Philip Alperson (ed.). (1987). What Is Music: An Introduction to the Philosophy of Music. The Pennsylvania State University Press.
    Langer, S.著,劉大基譯 (1993)。情感與形式。節錄自張洪模編。《音樂美學》。台北:洪葉。
    Lippman, E.著,方銘健譯 (2000)。《西洋音樂美學史》(A History of Western Musical Aesthetics)。台北:國立編譯館。
    Meyer, L. B. (1956). Emotion and Meaning in Music. Chicago University Press.
    Meyer, L. B.著,何乾三譯 (1991)。《音樂的情感與意義》(Emotion and Meaning in Music)。北京大學出版社。
    Middleton, R. (1990). Studying Popular Music. Open University Press.
    Pavlicevic, M. (1997). Music Therapy in Context. Jessica Kingsley Publishers. London and Philadelphia.
    Ricoeur, P.著,李幼蒸譯 (2002)。《詮釋學的任務。詮釋學經典文選(下)》。台北:桂冠。
    Schopenhauer, A.著,林建國譯 (1989)。《意志與表象的世界》(Die Welt als Wille und Vorstellung)。台北:遠流。
    Schwarz, D. (1997). Listening Subjects: Music, Psychoanalysis, Culture. Duke University Press.
    Shepherd, J. (1982). A Theoretical Model for the Sociomusicological Analysis of Popular Musics. In Middleton, R. etc. (eds.). Popular Music: Theory and Method. Cambridge: Cambridge University Press.
    Shepherd J. & Wicke, P. (1998). Music and Culture Theory. Cambridge University Press.
    Solso, R. L.著,黃希庭、李文權、張慶林譯 (1992)。《認知心理學》。台北:五南。
    Storr, A.著,張嚶嚶譯 (1998)。《音樂與心靈》(Music and the Mind)。台北:知音文化。
    Strauss, A. & Corbin, J.著,吳芝儀、廖梅花譯 (2001)。《質性研究入門:紮根理論研究方法》(Basics of Qualitative Research: Techniques and Procedures for Developing Grounded Theory)。嘉義:濤石文化。
    Street, J. (2001). Rock, Pop and Politics. In Frith S.; Straw, W. and Street, J. (eds.). The Cambridge Companion to Pop and Rock. Cambridge: Cambridge University Press.
    Sychiger, M. B. (2001). Understanding Musical Activity and Musical Learning as Sign Processes: Toward a Semiotic Approach to Music Education. In Journal of Aesthetic Education. 35(1): 53-62. University of Illinois Press.
    Tagg, P. (1982). Analysing Popular Music: Theory, method and practice. In Middleton, R. etc. (eds.). Popular Music: Theory and Method. Cambridge: Cambridge University Press.
    Taylor, S. (2001). Locating and Conducting Discourse Analytic Research. In Wetherell et al (eds.). Discourse Theory and Practice. U.K.: The Open University.
    Valentine, C. W. (1919). An Introduction to the Experimental Psychology of Beauty. London & Edinburgh: T. C. & E. C. Jack, Ltd. / T. Nelson & Sons, Ltd.
    Valentine, C. W.著,潘智彪譯 (2000)。《實驗審美心理學》(The Experimental Psychology of Beauty)。台北:商鼎。
    Wachsmann, K. (1982). The Changeability of Musical Experience. In Ethnomusicology. 26(2). The Society for Ethnomusicology.
    參考音樂專輯
    交工樂隊 (1999)。《我等就來唱山歌--反水庫運動記實》。台北:大大樹音樂圖像。
    交工樂隊 (2001)。《菊花夜行軍》。台北:大大樹音樂圖像。
    吳榮順、謝宜文採集 (1997)。《美濃人美濃歌》。台北:風潮唱片。
    工人鬥陣、黑手那卡西 (1998)。《福氣個屁:台灣第一張工運抗爭歌曲專輯》。台北:台灣勞工教育資訊發展中心。
    Description: 碩士
    國立政治大學
    廣播電視學研究所
    89453014
    92
    Source URI: http://thesis.lib.nccu.edu.tw/record/#G0089453014
    Data Type: thesis
    Appears in Collections:[廣播電視學系] 學位論文

    Files in This Item:

    File Description SizeFormat
    45301401.pdf93KbAdobe PDF2925View/Open
    45301402.pdf112KbAdobe PDF21160View/Open
    45301403.pdf96KbAdobe PDF2874View/Open
    45301404.pdf296KbAdobe PDF21369View/Open
    45301405.pdf288KbAdobe PDF21675View/Open
    45301406.pdf511KbAdobe PDF21656View/Open
    45301407.pdf568KbAdobe PDF21470View/Open
    45301408.pdf328KbAdobe PDF21069View/Open
    45301409.pdf217KbAdobe PDF21547View/Open
    45301410.pdf608KbAdobe PDF21773View/Open
    45301411.pdf181KbAdobe PDF21554View/Open


    All items in 政大典藏 are protected by copyright, with all rights reserved.


    社群 sharing

    著作權政策宣告 Copyright Announcement
    1.本網站之數位內容為國立政治大學所收錄之機構典藏,無償提供學術研究與公眾教育等公益性使用,惟仍請適度,合理使用本網站之內容,以尊重著作權人之權益。商業上之利用,則請先取得著作權人之授權。
    The digital content of this website is part of National Chengchi University Institutional Repository. It provides free access to academic research and public education for non-commercial use. Please utilize it in a proper and reasonable manner and respect the rights of copyright owners. For commercial use, please obtain authorization from the copyright owner in advance.

    2.本網站之製作,已盡力防止侵害著作權人之權益,如仍發現本網站之數位內容有侵害著作權人權益情事者,請權利人通知本網站維護人員(nccur@nccu.edu.tw),維護人員將立即採取移除該數位著作等補救措施。
    NCCU Institutional Repository is made to protect the interests of copyright owners. If you believe that any material on the website infringes copyright, please contact our staff(nccur@nccu.edu.tw). We will remove the work from the repository and investigate your claim.
    DSpace Software Copyright © 2002-2004  MIT &  Hewlett-Packard  /   Enhanced by   NTU Library IR team Copyright ©   - Feedback