Expression
Expression
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DOI：
10.1196/annals.1280.013
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发表时间：
2003-12
影响因子：
5.2
通讯作者：
P. Ekman
中科院分区：
文献类型：
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作者：
P. Ekman
表达这个术语在音乐上的应用非常广泛。哲学家和音乐学家对于音乐表达是什么以及它如何发挥作用仍然存在尖锐的分歧。本文通过调查启蒙运动的修辞和情感模仿理论、主观性和自我表达的浪漫主义美学，以及更现代版本的轮廓、唤醒、人物角色和不及物表达理论的影响，对过去三百年来音乐本身（即独立于文字的音乐）被认为具有表现力的方式进行了历史性的描述。这篇评论揭示了音乐表达缺乏单一令人满意的解释框架，尽管它确认了音乐表达作为“音乐灵魂”的持久重要性。
Expression is a term that has been applied to music in an extraordinarily wide range of senses; philosophers and musicologists alike remain sharply divided on what musical expression is and how it works. This essay gives a historical account of the ways in which music in and of itself—that is, music independent of words—has been regarded as expressive over the past three hundred years by surveying influences spanning Enlightenment theories of rhetoric and the imitation of emotions, Romantic aesthetics of subjectivity and self-expression, and more contemporary versions of contour, arousal, persona, and intransitive theories of expression. This review reveals the lack of a single satisfactory explanatory framework for musical expression, even while confirming musical expression’s enduring importance as “the soul of music.”