音樂聆聽的認知與理解：美學與認知心理學取向

The Cognition and Comprehension of Music Listening: An Aesthetic and Cognitive Psychological Approach

葉自強(TZYH-CHYANG YEH)

指導教授 ： 錢善華 ； 陳學志

國立臺灣師範大學/藝術學院/音樂學系/博士(2013年)

摘要

探討音樂認識與理解，向來屬於音樂美學的課題。音樂美學是整體美學下的一個子集合，而美學在傳統上又算是西方哲學知識論下的一支。在20世紀認知科學興起後，以往多由知識論所探究的人類認知行為、以及知識如何成立等議題，逐漸轉由更具實徵信效度的認知心理學接手研究。以此觀之，要瞭解音樂認知與理解，亦應效法認知科學取向，音樂美學才能與時並進，不致落在窠臼之中。

雖然19世紀便已然存在認知科學取向的音樂認知行為研究，時至今日國外的音樂實驗審美心理學與音樂認知心理實徵研究也累積了為數不少的文獻與成果，但國內融合認知心理學與音樂美學的相關研究仍顯得貧乏。有鑑於此，本研究嘗試以既有之音樂美學學理為基，融合認知心理學所獲致的、關於人類認知機制與歷程的學理，合併探討欣賞者在純音樂的聆聽經驗中，其認知與理解的歷程；並且藉以推進音樂美學理論的進步。

經研究發現，不論標題音樂抑或絕對音樂，音樂的「非音樂內容」都不是音樂欣賞的必要與充要成分；反而是各種層級音樂要素的組織與建構——亦即，音樂的形式——方為音樂理解與欣賞的必要「內容」。由於短期記憶廣度所限，音樂理解係以即時性的初次級音樂物件知覺為基礎。當接收到聲響刺激時，我們會自動化地根據物體辨識的完形法則、長期記憶中的音樂物件基模、以及音樂風格腳本知識，將這些聲響串流轉碼為可提取音樂思維與脈絡的音樂物件表徵。同時，也會因為類化、知覺恆常性、知覺靈巧性、家族相似度、與基模適配的作用，而使得在物理層面上有所差異的不同聲響刺激被識別為同一音樂思維表徵或者同類音樂腳本：而後面這些認知機制，使吾人容易對音樂獲致穩定且一致的認知，俾便於主體理解所欣賞的音樂對象。而在初次級以上的音樂物件獲得知覺與記憶後，它就在長期記憶內形成一件音樂物件基模，並可與更上層級的音樂風格腳本網絡產生關聯，使後者更加充實且細緻化。當樂曲行進到之後的部分，我們就能把當下接受到的音樂物件表徵與提取自記憶的基模比對，一則加速理解，二則產生曲式的認識。而當聆聽到其它首相近風格的樂曲時，獲得充實與精緻化的音樂風格腳本，則能促使主體加速識別具有相近音樂思維的陌生音樂物件。

關鍵字

美學 ； 音樂美學 ； 認知心理學

並列摘要

To study the cognition and comprehension of music is a core subject of music aesthetics. Traditionally, Music aesthetics is a sub-discipline of aesthetics, and aesthetics is a branch of Western philosophy epistemology. With the rise of scientific cognitive research in the 20th century, cognitive psychology gets higher and higher position about the research of many traditional epistemological key topics such as human cognitive behavior and the constructing of knowledge. Therefore, to follow the studying approach of cognitive psychology might be helpful to progress the theory construction and to improve the reliability and validity of music aesthetics.

Since 19th century, some scholars started using scientific cognitive approaches studying the music cognitive behavior, and they had already gotten some achievements. But in Taiwan, studies which combine music aesthetics with cognitive psychology are still rare. Therefore, this study designs to discuss the music cognition and comprehension through both traditional music aesthetics theory and modern cognitive psychological discoveries.

According to the research, while listening to music, including absolute and program music, the “extra” musical content is neither necessary nor sufficient condition to music comprehension. Instead, listeners should understand different organizations and structures that made up of various music elements, i.e. the “form” of music, first. For the capacity of STM is extremely limited, to obtain the perception of elementary or small-scale music objects is the base of immediate music comprehension. While listening to music, the Gestalt principles of organization, the schemata of miscellaneous music objects that stored in LTM, and the scripts knowledge of various music styles will automatically help listeners to translate physical sound stimuli into music objects which represent music thoughts and concepts. In the same time, the effects of categorical perception, perceptual constancy, perceptual flexibility, and family resemblance will lead listeners to recognize physically different sound stimuli as the same music objects or identical symbols that represent parallel music thinking. This helps listeners to get stable and constant music perception; hence they could understand the music easier. If listeners can recognize and remember music objects, they would become music objects schemata in LTM and would link together to form, or to expand advanced style scripts. Then, the schemata and scripts knowledge can help listeners to recognize following music stimuli and tell the form of that composition.

並列關鍵字

aesthetics ； music aesthetics ； cognitive psychology

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