1. Fill in the blanks (65438+ 0 for each blank, a total of 20 points)

Music aesthetics is a new discipline.

2. Music aesthetics is a marginal discipline combined with music and a basic theoretical discipline of music.

3. This is the first complete monograph on music aesthetics in the history of China.

4. The representative figures of pre-Qin Confucian music aesthetics are,,.

5. It is the most important musical aesthetic work in Wei, Jin, Southern and Northern Dynasties.

6. Known as the founder of western music aesthetics.

7, 1806, German music theorist Schubart published a book, and the name "music aesthetics" began to be widely accepted and adopted.

8. In his book, the German theorist Gates used the name "harmony" for the first time to summarize two viewpoints in western music aesthetics.

9. Music has functions.

10, the basic elements of music are,,,.

Second, multiple-choice questions (2 points for each question, a total of 20 points)

1, the aesthetic thought advocated by Taoism is ()

A, Benevolence and Courtesy B, Based on "Heaven" C, "Evil Nature" D and "Good Nature"

2. The theory of sound without sorrow and music is a novel. ( )

A, Confucius B, Han Feizi C, Ji Kang D, Ruan Ji

3. In the middle of Ming Dynasty, the ideological trend represented by subjective feelings and the spirit of pursuing freedom. ( )

A, Zhou Dunyi B, Li Zhi C, Tao Qian D, Lu Wen

4. Call your own opera music style "exciting" style. ( )

A, Monteverdi B, Pegolesi C, Gluck D, Schumann

5. What is the aesthetic feature that is not the basic organizational form of music sound? ( )

A, rhythm and beat b, melody and mode, tonality c, music structure d, pitch and vision

6. It is not the expression of musical style. ( )

A, personal style b, regional style c, traditional style d, era style

7. At the end of the Ming Dynasty, Xu Shangying compiled "The Songs of the Great Ring Qin", one of which was a monograph on Qin. ( )

A, Fu Qin B, Xi Oenanthe javanica condition C, reading method and skin theory D, burning books

8. The created "twelve-tone system" is a highly orderly music creation method. ( )

A, Schoenberg B, Adorno C, Debussy D, Stravinsky

9, Yin and Yang's musical aesthetic thought monograph is. ( )

A, Huai Nan Zi B, Lun Heng C, Lv Chunqiu D and Yue Ji

10, not a representative figure of pre-Qin Confucianism. ( )

A, Confucius B, Mencius C, Xunzi D, Zhuangzi

Three. Noun explanation (5 points for each question, total 10)

1, the theory of sound without sorrow and music

2. "Self-discipline of Music Aesthetics" and "Heteronomy of Music Aesthetics"

Four, short answer questions (each question 15 points, a total of 30 points)

1. Briefly describe Confucian music aesthetics.

2. Briefly describe the aesthetic characteristics of rhythm and beat.

Five, essay questions (20 points for each question, a total of 20 points)

On the main features of western music aesthetics.

Reference answer:

Fill in the blanks

1, ancient and modern 2, aesthetics; Musicology; Philosophical nature 3. Xunzi's theory of music iv. Confucius; Mencius; Xunzi 5, the theory of sound without sorrow and music 6, Pythagoras 7, music aesthetics 8, the main schools of music aesthetics; Self-discipline theory of music aesthetics; Heteronomy in music aesthetics. Artistic function; Practical function 10, pitch; Sound intensity; Timbre; Sound length

Second, multiple choice questions

1、B 2、C 3、B 4、A 5、D 6、C 7、B 8、A 9、C 10、D

Third, the noun explanation

1, on the sound without sorrow and joy, by Ji Kang.

The theory of sound without sorrow and music holds that heaven and earth produce everything, and music is one of all things, which is also produced by the way of nature and the vitality of heaven and earth, so it is independent of heaven and earth and has its own "natural principle"

His specific views on music mainly include 1, "harmony is not like" and "impermanence of sound", that is, "sound" does not express some feelings and is not necessarily related to feelings. 2. "Sound and sound are the sum of nature, not human feelings", that is, the harmonious characteristics of music come from the nature of heaven and earth, which is the "natural principle" of music. 3. "Harmony" means that there is no tendency to be sad or happy, that is, there is no sadness or happiness. 4. "A calm person is also a work of sound", thinking that music can only cause a calm or calm emotional response to listening to music through the movement changes of music, but not the corresponding feelings. 5. "Sound" can make people "happy and full", that is, music can attract people with rich tones, make people move with the movement of tunes, get beautiful enjoyment from it, and feel satisfied and happy.

The Theory of Music without Sorrow and Sorrow is another important musical aesthetic work after Yue Ji, and it is also the only one that puts forward and discusses the particularity of music positively.

2. In the book "The Main Schools of Music Aesthetics" published by 1929, German theorist Gates used the names of self-discipline music aesthetics and heteronomy music aesthetics to summarize two viewpoints in western music aesthetics for the first time.

The basic point of "On the Self-discipline of Music Aesthetics" is that the beauty of music is unique and unique to music. This is an independent beauty that does not need foreign content. It exists in music and the artistic combination of music. Music can only be understood as music, can only be understood through music itself, and can only be appreciated from music itself.

"Heteronomy in music aesthetics" is based on seeking the essence of music from its own form, elements and composition, rather than seeking the explanation of music from the connection between music and some external things. It is manifested in the research of music technology theories such as acoustics and temperament. Music is a pure form, which is not dominated by any external force and transcends all concrete images and concepts. It is a metaphysical thinking force and a free and aimless game.

Fourth, short answer questions

1, the representative figures of pre-Qin Confucianism are Confucius, Mencius and Xunzi. They all put forward their own musical aesthetic thoughts.

Confucius' musical aesthetic thought includes four aspects. First, put forward the aesthetic thought of "supreme goodness", that is, clearly distinguish beauty from goodness. Affirmed the independent significance of beauty, and put forward clear requirements for the mutual combination and harmonious unity of beauty and goodness. And made a distinction between beauty and goodness. The second is to put forward the aesthetic standards of "thinking innocently", "being happy but not lascivious, being sad but not hurting". It is stipulated that the expression of emotion in music must be moderate, moderate and not excessive. Third, put forward the idea of "enjoying Shao music and dancing and letting go". People think that elegant music, such as Shao and dance, must be used to govern the country, and Zheng Sheng should be banned. Fourth, attach great importance to the social function of music.

Mencius advocated the theory of "goodness of nature" and developed Confucius' thought from the aspect of "benevolence"

Xunzi advocated "the theory of evil nature" and developed Confucius' thought from the aspect of "courtesy". The main points are as follows: 1. Regarding the characteristics of music, it is considered that the characteristics of music expression form are "judging a certain sum", the characteristics of music expression object are "extreme change from poverty", and the essence of music is to express human nature and its changes through "judging a certain sum" and "human way". The second is to judge Mozi's "non-music" thought and fully affirm the social function of music. Thirdly, the category of "neutralization" is clearly put forward, emphasizing that "neutralization" must be based on rites and music, and "neutralization" is the criterion for choosing music. It is believed that "neutralization" is ritual and music, and the opposite is evil sound, and it is advocated that "ritual and music are valued and evil sound is ignored". Fourthly, it emphasizes the distinction of aesthetic levels, thinks that the most important thing to get "desire" is the villain, and the most important thing to get "Tao" is the gentleman. It advocates "controlling desire with Tao" and "appreciating beauty with goodness", guiding music appreciation activities with morality, limiting music appreciation desire, so that people can feel the beauty of music and the goodness of music in appreciation, so as to get real happiness.

Confucian music aesthetics is based on Confucius, developed in Mencius and born in Xunzi. The symbol of maturity is that two categories of "neutralization" and "rites and music" are put forward. Xunzi Yue Ji is the first complete monograph on music aesthetics in the history of China.

The characteristics of Confucian music aesthetics are based on rites and music, taking "neutralization" as the criterion, and emphasizing the social and educational functions of music.

2. The orderly activities and changes of the human body and the outside world in time make people experience the rhythm.

The rhythm of music highlights the basic perceptual characteristics of art: order and richness. The order of music rhythm is mainly manifested in the equal distance and proportional distribution of pronunciation points in time, while the richness is reflected in the rich changes of long and short combinations.

The similarity of rhythm experience is a necessary condition for music to express various objects, and it is also an important reason why music has various social functions. In modern pop music, rhythm has even become the most important structural feature of music. Rhythm is not only one of the basic organizational forms of music, but may even constitute a complete musical work alone.

The cultural differences of rhythm form are very obvious. The rhythm of China's music is very rich, and its free rhythm and scattered rhythm are quite distinctive, which is quite different from the rhythm based on isochronism in European professional music. This phenomenon shows the diversity of human pursuit of rhythmic beauty.

The complexity and irregularity of rhythm is an important feature of the development of modern music. In modern music, the rhythm pattern of bisecting time value is greatly reduced, and the extreme contrast of length change and the extensive use of non-positive beat stop make the rhythm change confusing and unpredictable.

The rhythm in music is often caused by the alternation of strength and weakness, and the law of this cyclical change of strength and weakness is the beat. The aesthetic significance of beat lies in its concentrated expression of rhythm order. Music culture, represented by European classical music, mostly shows the pursuit of uniform beat and regular rhythm. Judging from the broader aesthetic vision and rich perceptual requirements, people's aesthetic pursuit of beat is not limited to the unified and regular rhythm, but often pursues the aesthetic effect brought by deviating from the basic laws to a certain extent. Breaking the regularity of the beat, it also breaks the mechanical nature of the music rhythm, thus giving the music a sense of flow.

Verb (abbreviation of verb) On the Problems of Literature

1, emphasizing positivism and logical speculation.

Since the Pythagorean School in ancient Greece, most western scholars tend to "look at the problem of not learning from the perspective of natural science". This tendency is also very obvious in the aesthetic thinking of music art. In the western cultural tradition, music research has always been regarded as a science. Therefore, the unique logical method and empirical principle of scientific thinking have been widely implemented in western music aesthetics. From ancient Greece to the 20th century, western music aesthetics has borrowed and accepted the research methods and achievements in the fields of mathematics, physics, physiology, psychology and other natural sciences in various stages of its development. This enables the study of music aesthetics to continuously gain new thinking horizons, and micro-analyze and study the aesthetic essence of music art from different angles and levels. At the same time, due to the same way of thinking as natural science, various theoretical systems of western music aesthetics need to be constantly tested by experience and logical reasoning, so that the ideological achievements of predecessors can be connected with the theories of later generations through logical universality, thus forming a systematic accumulation. Modern western music aesthetics can develop into a relatively independent theoretical discipline, which largely depends on this.

2. Pay attention to the study of music ontology and be good at integrating theory with practice.

This feature is mainly reflected in the modern western music aesthetic thought since the Renaissance. In ancient Greece and the Middle Ages, the abstract speculative elements in western music aesthetics accounted for a large proportion. However, with the rise of the Renaissance, western music aesthetics has embarked on a development path that is more oriented to music practice. Since then, every formation of China's concept of music aesthetics and every argument about music aesthetics are almost closely related to the local real music life at that time. In the process of expounding his theory, western music aestheticians are also good at observing and solving various practical problems in musical aesthetic phenomena by combining the concrete analysis of musical works. Especially after entering the 20th century, the study of western music aesthetics advocates a "bottom-up" research method. This research method focuses on the specific aesthetic experience and artistic phenomenon, avoiding and rejecting any preconceived ideas and beliefs. Facts have proved that this attitude has brought positive influence to the development of music aesthetics theory.

3. From ancient times to the present, there is a trend of accelerated development.

From the19th century to the end of the Middle Ages, western music aesthetics experienced a long course of about 2000 years in its initial embryonic stage. Although the ancient Greeks made amazing achievements in the study of music aesthetics, the overall development speed of western music aesthetics was still quite slow until the Renaissance. With the beginning of western modern civilization, western music aesthetics has also shown a trend of accelerated development, with new ideas and concepts constantly emerging and gradually embarking on the road of specialization and discipline. Music aesthetics, as a new independent humanities discipline, first occupies a leading position in the world in the creation of material wealth in western civilization, and has also gained undeniable advantages in the creation of spiritual wealth. The prosperity of music art and the freedom of academic thought are two necessary conditions for the high development of music aesthetics. These two conditions are interrelated and indispensable. Every peak in the history of western music aesthetics is accompanied by the vigorous development of music art, which embodies the liberation of human nature and the full and vigorous creativity of human beings. Western civilization since the Renaissance has provided the above conditions for music aesthetics, so modern western music aesthetics has made great progress.

4. Actively sublate tradition and innovate constantly.

The popular moral utilitarianism in ancient Greek music aesthetics is precisely the concept opposed by modern self-discipline music aesthetics; The obvious asceticism tendency in medieval music aesthetics is precisely the opposite of western emotional music aesthetics; /kloc-the principle of romantic music expression in the 0/9th century became the object of criticism of formalist music aesthetics in the 20th century. From this perspective, the development of western music aesthetics is a process of constant self-denial. The establishment of various theories and doctrines is based on actively sublating traditional concepts. I would rather doubt the theories of my predecessors than blindly follow them. Criticism is greater than inheritance, and negation is greater than affirmation, which is an academic attitude generally respected by western music aestheticians. It is this attitude that creates the eclectic and contending situation of western music aesthetics.

5. Advocating rationality and ignoring sensibility.

Aesthetics exists as an integral part of epistemology in western philosophy. Music aesthetics, as a branch of general aesthetics, has also been cured. In a long historical period, the fundamental goal of western aesthetics is to find some eternal objective laws in the phenomenon of beauty, and then take these laws as the common standard of aesthetic judgment. The same is true in the field of music aesthetics. As a result of these practices, music has completely become the object of rational thinking without the natural selection of auditory feelings, thus losing its fundamental value as an artistic existence.