This article mainly discusses the basic requirements for the emotional experience of music appreciators in the process of appreciating music. I make an argument from the perspective of the extent of the appreciator’s emotional connotation experience of music works, and conclude that "accurate , profound and detailed experience of the emotional connotation in musical works is the basic requirement for emotional experience in music appreciation." This conclusion.

Keywords: Basic requirements for music appreciation and emotional experience

Music is an art that is good at expressing and stimulating emotions. It can be said that the process of music appreciation is the process of emotional experience. It is both The process in which the listener experiences the emotional connotation of music is also the process in which the listener's own feelings and the feelings expressed in the music blend and resonate with each other. Whether for ordinary music listeners or music experts, emotional experience is an indispensable psychological element when appreciating music. For a music expert, if he only pays attention to techniques, technical techniques, structural forms, etc. when appreciating music, but is indifferent emotionally, then his appreciation of music will only focus on the text without seeing the underlying meaning. The heart, seeing the surface but not the inside" cannot fully feel and understand the beauty of music. An experienced British music educator once warned: "Don't allow your critical agility to suffocate your emotions. reaction. Those experts often limit their attention to technique. "① He also said: "Unless you have re-captured the same feeling that inspired Beethoven to write this work (referring to Waldstein's Piano Sonata--quoter's note), or think that you also have this emotion, you can The right to say you appreciate him. "②Music is an art that is good at expressing emotions. Music has rich and profound emotional connotations. Only when the emotional activities of the music appreciator are basically consistent with the emotions contained in the musical works can it be called correct music appreciation. Therefore, accurately, deeply and meticulously experiencing the emotional connotation in musical works is the basic requirement for emotional experience in music appreciation? Still ti 椤 1 heat relief? Yi steals E? Jiehuang table wisdom? Neo baking Ying? Zao table wisdom? 涶macei mother star 椋ㄋ? 蚴强 stew value model? 蚴 potential? У model? 蚴强 Calf? Dry copy ⅰⅰⅰⅰⅰ⒌magpie caries? Embarrassing Zhi Yue Drought Mother Xingxingxing?椋? Uniform Bad Yao? Flood Hui Hemorrhoids Tiedi U nunnery duties 樨 widow pang quilt refers to brother? Even wandering? Mother star 昘怖椋? Fai Qiao Yi Pry? File Mother Line Meteor system is still in trouble?nbsp;

For example, we hear such a music theme:

Example 3 quickly

Zheng Lu, Ma Hongye: "Good News from Beijing to the Border Village"

① P.C. Buck: "The Psychology of Musicians", Chinese translation, page 107

② Same as above, page 104.

We will naturally get an emotional experience of joy and joy from this fast and active musical theme played by string instruments and woodwind instruments.

And when we listen to it. When we come to the following slow, tearful music theme, a sad and desolate feeling will involuntarily well up in our hearts:

Example 4

Slow Earth

"River Water"

When the following sound was played on the piano, the sonorous and powerful horn-like sound played by the right hand was set off by the continuous rolling of the left hand up and down. Musical motivation:

Example 5

Chopin: "Etude in C Minor"

The passionate waves of grief and anger expressed in the music will We are deeply moved.

The emotional experience that the listener gets from the music is not caused by the title or text description, but a direct perceptual experience. The listener's ability to transform the musical sound experienced from hearing into an emotional experience in his own consciousness must be based on correct music perception. However, when the listener is not familiar with a certain music sound and its artistic style, he cannot When he perceives music correctly, it is impossible for him to obtain the correct emotional experience.

Classroom experiments I conducted while teaching students showed that students in familiar music styles, even though they did not know in advance what music they were listening to, could still generally correctly experience the emotional nature of the music. For example, without any explanation of the music, I played a recording of the variations of the secondary theme of the first movement in Dvozak's "Cello Concerto" for the students, and then asked the students to write Regarding their own emotional experiences, the five students’ answers were:

(1) Reminiscing and trying to get rid of some kind of entanglement.

(2) Sad, crying theme tone.

(3) Full of deep emotions.

(4) Sadness and sorrow.

(5) Confession from afar.

Although the five students’ answers were worded differently, their emotional experiences were relatively similar in nature and basically consistent with the emotional connotation of the original work. The students' emotional intuition can also be experienced by Dvozak's deep longing for his motherland and the loneliness and sorrow he feels in a foreign land expressed in this piece of music.

However, students showed obvious differences in their emotional experiences with music with unfamiliar musical sounds and artistic styles. For example, after I played the recording of the theme presentation passage of Guo Chuwang's guqin song "Xiaoxiang Water Cloud" from the Song Dynasty in class, I asked the students to write about their emotional experiences as usual, but five students gave various answers:

(1) Describe some kind of pain.

(2) Melancholy and full of power.

A brief discussion on the basic requirements for emotional experience in music appreciation. From: Free Paper Network www.paper800.com

(3) Elegant and bright emotions.

(4) Joy.

(5) Alcoholic.

The main reason why there is such a big difference here, or even completely opposite emotional experiences, is that some students have little exposure to guqin music and cannot correctly perceive guqin music. Unable to correctly experience the emotional connotation of the music.

The perceptual or intuitive emotional experience of the music that we talked about above is the basic way of emotional experience in music appreciation. However, it is, after all, a preliminary experience of the emotional connotation of a musical work. If the listener only relies on intuition to experience, although it is possible to experience the basic emotions of the music, they will often be limited to the emotional type of experience of joy, anger, sorrow, and joy, and will not be able to experience the inner meaning of the music's emotions more deeply. Therefore, a further requirement for emotional experience in music appreciation is the participation of understanding and knowledge, that is, the appreciator must study and understand the emotional inner meaning of the music from all aspects. Only after we have a clearer understanding of the ideological and life foundation on which musical emotions are based, can we understand the emotional connotation of musical works more deeply and accurately. This is just as Comrade Mao Zedong said in his philosophical works: "Our practice has proved that we cannot immediately understand what we feel. Only what we understand can we feel it more deeply." "①

Of course, what we are referring to here is the appreciation of those musical works that do express profound emotional connotations. And the reason why we put forward this further requirement for the emotional experience in music appreciation is that This is because the emotions expressed in music are neither mysterious and unpredictable things that have little connection with human thought, nor are they subjective and self-generated things that have no basis in life. On the contrary, the emotional connotation in music is determined by certain social life. It is caused by and is related to certain thoughts. Just as the Chinese classical music treatise "Yue Ji" said: "Every sound is generated by the human heart, and the movement of the human heart is caused by things."②. But because

the basic requirements of emotional experience in music appreciation come from

① Mao Zedong: "On Practice", "Selected Works of Mao Zedong" four volumes, page 263.

② See "Le Ben Pian" in "Le Ji".

The particularity of music expression means that while it expresses emotions, it cannot also clearly express the thoughts and life foundations on which emotions are based. This requires the listener to pay attention to the music. While experiencing the emotional connotation with sensibility, you can also consciously use factors of understanding to deeply experience the connotation of the emotional expression of the music.

Because the emotional connotation in music can often find the basis for understanding in factors other than music. For example, in vocal works, the root can be found in the title and text description; in title music, the root can be found in the title and text. Therefore, it is completely necessary to pay full attention to these non-musical factors in the emotional experience of vocal works and title instrumental works. If we ignore these non-musical factors and rely only on perceptual experience, it will be difficult to deeply understand the emotional connotation of the music, especially its social significance. Music is an art that expresses life. In order to avoid the limitations of sound materials and achieve better artistic expression, it often needs to be combined with other arts. This approach dates back to the trinity of song, dance, and poetry in the primitive era of music development. It has already begun in the form of. Since these non-musical factors have been closely integrated with music into an organic artistic whole, when appreciators have an emotional experience of music, they need to use the psychological element of understanding and recognition to study this artistic whole, thereby deepening their feelings for music. Intensive experience.

Some untitled musical works do not comprehensively use non-musical factors, but this does not mean that the emotional expressions in these music do not have their life and ideological foundation. In order to experience the emotional connotation of this type of music more deeply, the listener must, on the one hand, listen to the music repeatedly and rely on intuition to experience the emotional expression of the music more accurately and meticulously. On the other hand, the listener must also listen to the music from a broader perspective. , especially research and understanding from various aspects such as the social environment in which the music was produced, the composer's life experience, creative intention, artistic style, etc., in order to obtain a correct grasp of the emotional connotation of the music. For example, Dvozak's "Cello Concerto" we mentioned earlier. If students understand the role of cognition and understand that this concerto was written by the Czech composer Dvozak when he lived in the United States in his later years, the author through this The work expresses his deep nostalgia for his motherland and relatives who are far away across the ocean. Then, students will gain a deeper experience of the emotional connotation of this work during the appreciation process. Another example is the overture in the ten-part score of Beethoven's "Egmont", without understanding that the protagonist Egmont of this drama was a hero revered by the Dutch people in the sixteenth century and resisted the Dutch people he led. Without knowing anything about Spanish rule and the struggle for independence, it would be difficult to experience the dramatic emotional changes in this overture: painful groans, fierce resistance, tragic carols and triumphant carnivals. If the audience can give full play to the role of understanding and timing, and have a deeper understanding of the content and characters of this drama, they will inevitably have a deeper experience of the emotional connotation of the music, which can only be achieved by perceptual experience alone. Impossible.

However, not every music listener can achieve this further requirement for emotional experience. Not every music appreciator has the conditions to understand musicians and the creation of musical works. Moreover, there are many untitled instrumental works, and the authors often left no relevant description when creating them. The works themselves do not express any profound social content, but are just expressions of certain emotions. Under such circumstances, it is difficult to further explain the music, and one can only experience the emotion of the music through sound perception and a grasp of the author's overall creative personality and style. Therefore, we must face the reality that for the vast majority of music listeners. The emotional experience in music appreciation is more in the form of intuitive intuition.

As is usually said, the listener is in a psychological state of "can only be understood, not expressed". What's more, the feelings expressed in music are indeed "can only be understood, not expressed" in many cases. "Yes! To judge whether an listener can express the feelings experienced with the help of a certain concept, it depends on whether the listener truly experiences the feelings expressed in the music from the heart. The listener's Whether emotions can fluctuate and change as the music progresses during the appreciation process? If this is achieved, it can be said that we have experienced the feelings expressed in the music. Of course, this is not what we say. Deny the important role of understanding in the emotional experience of music appreciation, but want to explain that only when this kind of understanding is integrated into the perceptual experience can it truly contribute to music appreciation.