赵苏｜乐感的心理实质及其培养路径的探索

中国音乐ChineseMusic · 公众号 · · 2025-01-24 21:38

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乐感的心理实质及其培养路径的探索

赵苏

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摘要 : 本研究围绕“乐感是什么”及“如何培养乐感”两个问题展开。首先，本文将乐感定义为“与实现音乐审美活动目的相关的感性能力”，包含“听觉”“听知觉”“音乐审美期待”“联觉”“注意”五个心理要素。“听觉”是乐感发生的基础，“听知觉”将音乐中的声音信息组织为可被把握的音响结构，“音乐审美期待”反映了主体过去的审美经验及其对音乐的审美心理要求，“联觉”是音乐表现和理解的心理基础，“注意”保障了以上要素在音乐活动中充分发挥应有的作用。其次，在乐感理论研究的基础上，笔者对乐感的教育路径进行了探索。在“乐感训练”课程的教学实践中，逐步明确乐感教育的性质、目标和方法，在一定程度上构建了乐感教学的理论基础，为未来的乐感理论研究与教学研究提供了可资借鉴的方向与路径。

关键词 : 乐感；听觉；听知觉；音乐审美期待；联觉；注意；乐感培养

中图分类号 : J60-059 文献标识码 : A

文章编号 : 1002-9923（2025）01-0020-14

DOI: 10.13812/j.cnki.cn11-1379/j.2025.01.002

作者简介: 赵苏（1976— ），女，汉族，中央音乐学院2023届博士毕业生，中国音乐学院作曲系副教授、硕士生导师。

本文为《中国音乐》编辑部举办的“第五届音乐学硕博研究生优秀学位论文评选”获奖博士论文。

The Psychological Nature of Musicality and Pathways for Its Cultivation

○Zhao Su

Abstract: This study addresses two core questions: "What is musicality?" and "How can musicality be cultivated?" First, musicality is defined in this paper as "the perceptual ability required to achieve the objectives of musical aesthetic activities." The development of musicality is underpinned by several key psychological mechanisms. "Hearing" provides the foundational basis for the emergence of musicality, while "auditory perception" enables the organization of sound information into coherent and comprehensible musical structures. "Music aesthetic expectation" reflects an individual's prior aesthetic experiences and their anticipated aesthetic goals in relation to music. "Synesthesia" forms the psychological framework that facilitates the performance and understanding of music. "Attention" ensures the effective operation of these elements, enabling their full functionality in musical activities. Second, based on theoretical investigations into the nature of musicality, the study explores practical educational approaches for its cultivation. Through the implementation of the Musicality Training course, the author has clarified the nature, objectives, tasks, and teaching methods of musicality education. This effort has laid a theoretical foundation for the pedagogy of musicality, offering valuable insights and methodologies for future research and teaching practices in this field.

Keywords: Musicality; Hearing; Auditory Perception; Music Aesthetic Expectation; Synesthesia; Attention; Cultivation of Musicality