In search of beauty in music
In search of beauty in music
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寻找音乐之美
DOI：
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发表时间：
1947
期刊：
影响因子：
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通讯作者：
C. Seashore
中科院分区：
文献类型：
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作者：
C. Seashore
人类在各个时代和各种文化中的不懈努力。自苏格拉底时代以来，关于美的本质及其与生活和现实的关系的理论一直是哲学的中心问题。有创造力的艺术家甚至预见到了理论，并且在各个时代都在努力将他们对美的感受体现在艺术作品中，无论是美术还是应用艺术。历史学家和评论家试图评估和澄清在学习过程中出现的美的概念。人类学家在艺术作品中收集了展示进化过程的基本记录。教育工作者努力培养欣赏、理解和创造美的能力。科学的出现是为了在实验的基础上奠定基础。这就是美学的广阔领域，通常被定义为美的科学和哲学。我想从更广泛的意义上来考虑美学，并将其定义为对美的追求。为了给科学家如何处理美学问题提供一个单一的例子，让我邀请你在想象中进入实验室，观察一个在音乐中寻找美的具体例子。让我们以音乐中美的一个标准为例，即艺术偏离规律的原则;也就是说，艺术偏离真正的音高，甚至力度，节拍时间或纯音。在这样的研究中，我们采用自然科学的原则，因为我们收集了足够多的公认的美的样本，用于识别和分类，以及物理科学的原则，因为我们每次分离出一个特定的因素，用于测量，分析，描述，验证和解释。一般的方法是心理上的。为了确保我们处理的是处于其真实设置中的真实的音乐，我们邀请歌手或演奏者进入录音室，并且当他站在麦克风前并且像在无线电演播室中那样向远程观众302表演时，以他的最佳状态演唱或演奏
persistent efforts of mankind in all ages and all cultures. Since the time of Socrates, theories in regard to the nature of beauty and its relation to life and to reality have been a central issue in philosophy. Creative artists even anticipate theory and have in all ages struggled to give embodiment to their feelings of beauty in works of art, both fine arts and applied arts. Historians and critics have attempted to evaluate and clarify conceptions of beauty as they have arisen in the progress of learning. Anthropologists have collected fundamental records exhibiting the progress of evolution in works of art. Educators have labored to foster development of ability for appreciation, understanding, and creation of the beautiful. Science has come in to lay foundations on the basis of experiment. Such is the broad field of esthetics which is usually defined as the science and philosophy of beauty. I should like to think of esthetics in an even broader sense and define it as the pursuit of beauty. In order to give a single illustration of how the scientist approaches a problem in esthetics, let me invite you to come into the laboratory in your imagination and observe one concrete example of the search for the beautiful in music. Let us take as our example one of the sanctions of beauty in music-namely, the principle of artistic deviation from the regular; that is, artistic deviation from true pitch, even dynamics, metronomic time, or pure tone. In such an investigation we employ the principle of natural science, in that we collect an adequate body of samples of recognized beauty for the purpose of identification and classification, and the principle of physical science, in that we isolate one specific factor at a time for the purpose of measurement, analysis, description, verification, and explanation. The general approach is psychological. In order to make sure that we are dealing with real music in its true setting, we invite a singer or player to come into the recording studio and sing or play at his best as he stands before the microphone and performs, as in a radio studio, to an audience remote 302