the influence of facial expressions on music

1. Summary:

As early as more than 2, years ago, the ancient Chinese music theory "Yue Ji" put forward the view that "every sound starts from the human heart" and described how music expresses sadness, joy, and anger with different voices. As early as in ancient Greece, Aristotle linked music with people's facial expressions and life, believing that music can show anger and gentleness, courage and temperance, as well as all opposing qualities and other temperament. The facial expressions expressed in music are not only typed emotions, but also personalized emotions, which permeate the composer's personality and are related to specific characters and life scenes. The unity of typology and personalization should be the basic characteristics of musical leisure facial expressions.

2. Key words:

The specific isomorphic relationship between joys, sorrows, joys, and interests is particularly concrete

As early as more than 2, years ago, the ancient Chinese music theory "Yue Ji" put forward the view that "every sound starts from the human heart" and described how music expresses six kinds of differences, such as mourning, joy, anger, respect and love. As early as in ancient Greece, Aristotle linked music with people's facial expression life, thinking that music can show anger and gentleness, courage and temperance, as well as all opposing qualities and other temperament. Hegel, an important representative of German classical philosophy, repeatedly emphasized in his Aesthetics that the content of music is the expression of facial expression, and thought that only facial expression is the domain that music should possess. And said: "In this field, music has expanded to express all different special facial expressions, and all the joys, joys, humor, frivolity, willfulness and euphoria in the soul; All kinds of anxiety, worry, sorrow, sadness, pain and melancholy, and even emotions such as awe, worship and love belong to the special field of music ship performance. " (Hegel: Aesthetics) In the study of modern music aesthetics, there are also many studies on this issue. Expo musician Zofia? Lisa thinks: "In music, due to the lack of concrete, real and single objects, the factors reflected by facial expressions can play a more intense role and occupy the primary position-this is the particularity of music in the way of reflecting and displaying." She also believes: "The content of music is facial expressions, and it is rarely the phenomena themselves that arouse these facial expressions." (Zhuo Feiya? In the study of modern music aesthetics in Europe and America, some people insist that music is the art of expression, and the British musician Kirk has a great influence. In his book Language of Music, he pointed out: "In fact, music contains something other than music, just as poetry contains something other than literature, because notes, like literature, have the meaning of facial expressions. Let's say it again, music, written by a great composer, perfectly expresses the ordinary facial expressions of human beings in his own way of expression. " (Kirk's Music Language) In the research of contemporary music aesthetics in China, it is also generally believed that music can express facial expressions, and that the music content is mainly facial expressions. Of course, some people think that it is not comprehensive to regard music as the art of expressing facial expressions. Music should show all the spiritual life of human beings, and it should include the content world of all spiritual activities such as human thoughts, facial expressions, hearts, souls, wills, dreams, dreamland and subconscious. In my opinion, there is no contradiction between the view that music can express the whole inner world of human beings and the view that music is good at expressing facial expressions, because they are aimed at listening to the content in a category. However, the latter tries to cover the performance of music more comprehensively. Therefore, we think that putting forward that "music is the art of expressing facial expressions" or "music is mainly the art of expressing facial expressions" should be said to grasp the most important and core thing of music expression content. The problem is that we should not take this formulation as a narrow understanding, and regard facial expressions as only a form of a certain description; Instead, facial expression should be understood as a reflection of life, which has rich connotations and is closely related to people's other psychological activities.

We know that facial expressions refer to people's emotional hyperactivity, such as emotions and sorrows, and are a reflection of people's attitude towards objective things. In the study of facial expressions and emotions in psychology, the theory of "expression action" is particularly interesting. From an artistic point of view, facial expressions and body expressions are more manifested in drama, dance and plastic arts. The most intimate relationship with music is the expression of language, and the language, tone, rhythm and speed of language are all means of expression. People make different expressive sounds due to emotional excitement.

This is an inevitable external expression caused by internal changes of people, not a simple external comparison. Because of this, musicians attach great importance to the important role of language expressions in forming musical expressions. Zofia? Lisa once pointed out: "Tone structure can reflect two phenomena in reality, that is, hearing and vision can be grasped, that is, the actual movement process that the senses can observe and the human facial expression that the senses can't directly observe. This phenomenon can be indirectly realized through the expression movement that accompanies this facial expression. The most important general category is human spoken language with tonal characteristics. Therefore, this kind of sound language plays a huge role in music. " In addition, Lisa also put forward the theory of transplanting or translating this language tone into music tone. She believes that "the process of translation is the process of summarizing and abstracting the existing phenomena and the structural forms of various types of expression movements, that is, transferring this structure to the material material of sound." (Zhuo Feiya? Lisa's On the Particularity of Music).

From the above discussion, we can see that the reason why music can express facial expressions is that on the one hand, the emotional changes of people's facial expressions cause various physiological changes in the human body, and these changes show certain movement patterns; On the other hand, because people's facial expressions have a requirement of catharsis and release, the external expression of this requirement is just people's facial expressions, among which language expressions are most closely related to music, and it is the basic basis for music to be expressive through the transplantation and translation of musical tones from facial expressions. In addition, Gestalt psychology also provides a theoretical basis for music to express facial expressions. There is the same factor of "movement" between music movement and facial expression activity, and they stretch and change in time at the same time, both of which are manifested as a time movement process. There are ups and downs, Zhang Chi of rhythm, strength and shade of color in their movement forms. Gestalt psychology calls this kind of homosexuality "isomorphic relationship", or "isomorphic" or "homomorphic" relationship. It is this "isomorphic

relationship" that provides various possibilities for music to imitate or depict human facial expression activities by analogy or analogy. Kohler, one of the founders of Gestalt Psychology School, said: "Any real consciousness is not only blindly related to its psychological material process, but also similar to it in the characteristics of its basic structure." Gestalt psychology pays special attention to the analysis of visual art, and Wei Tai, another founder, acquiesces that the formal factors of dance movements and the emotional factors they express are equivalent in structure and form. American psychologist Rudolf? Asheim pointed out in the book Art and Visual Perception that "the psychological emotion of sadness is similar in nature to the structural style of the above-mentioned dance movements." A person with a very sad mood has a very slow psychological process, and rarely goes beyond the state linked with his direct experience and immediate preference perception. All his thoughts and pursuits are weak and physical. He lacks energy and determination, and all his activities seem to be controlled by external forces. " Susan the aesthete? Langer also used this psychological principle to discuss the relationship between music and its facial expressions. She said: "The tone structure we call music is logically consistent with the forms of human facial expressions-enhancement and attenuation, flow and rest, conflict and resolution, acceleration, inhibition, extreme excitement, gentle and subtle excitation, dream disappearance and so on. I'm afraid this has always been not pure joy and sorrow, but consistency with both and one of them in a profound degree, in the intensity, simplicity and eternal flow of everything that life feels. This is a style or logical form of feeling. The style of music is the same form composed of pure and accurate sound and silence. Music is the tone imitation of emotional life. " (Susan? Langer's Emotion and Form) China's research on music aesthetics, and some scholars use this principle to discuss the relationship between music and human facial expressions. Qian Renkang thinks: "Music can express the change and development of facial expression in sports with the rise and fall of melody, the Zhang Chi of rhythm, and the tone change of harmony and sound. This is beyond the reach of any language art. " (Qian Renkang's Music Research) Yu Runyang once pointed out: "There is a great difference in form between voice and human facial expressions. The former is a physical phenomenon, while the latter is a psychological phenomenon. However, the fundamental reason why music structure time can express specific facial expressions is that there is a very important similarity between the two. That is, the two are dynamic processes that are displayed and developed in time, with rich changes in speed, intensity and color tone. This extremely important similarity is the bridge between the two. " (Yu Runyang's Essay on the History of Music Aesthetics).

We will illustrate the isomorphic relationship between facial expression movement and music movement with examples. For example, "'Le' is a facial expression of people's happiness and happiness. Generally speaking, this kind of facial expression movement presents a kind of jumping and upward movement form, and its color tone is relatively clear, which is faster than the moving speed and frequency. Music that expresses the facial expression of' Le' generally adopts a similar dynamic structure. For example, the middle section of the piano piece "The Shepherd Boy Piccolo" shows the joy of the shepherd boy's carefree play in the field. The music adopts a leaping tone, a fast and lively rhythm and a bright tone. The main theme of the third movement of Mendelssohn's Violin Concerto in E minor is also cheerful, bright and optimistic, which is carried out with a lively and jumping melody similar to the movement form of this facial expression, as well as a fast rhythm and bright colors in the violin high-pitched area. The emotion of "anger" is generally a movement that can suddenly generate, expand upward and around. This kind of emotional movement is characterized by its sudden way and strong strength, and is often used for harmonious harmony and angular jumping. For example, in Pyotr Il'yich Tchaikovsky's symphony fantasia Romeo and Juliet, the anger and emotion of fighting between families are expressed by using sudden rhythm, strong strength and strong strength. "Mourning" is a sad and deep emotional state, and its movement trend is basically sinking, and with a relatively slow speed, the music that expresses the feelings of the quilt also has these characteristics in general. For example, the sad mood expressed in the last movement of Pyotr Il'yich Tchaikovsky's sixth symphony is expressed through the progressive and downward tones, the extremely unstable harmonic progression of several different seven chords, the interweaving and overlapping of strings on the orchestration and the slow speed. Jiang He Shui, a folk music in our country, is a piece of music in which sadness and anger are intertwined. The four phrases in the beginning are very vivid expressions of the mood of this piece of music. The second sentence jumps up by ten degrees, showing the strong impact of grief and indignation; The rhythm of the third sentence is faltering, and the tone gradually moves down from the high-pitched area, showing the grief of sobbing; The fourth sentence is the repetition of the first sentence.

of course, the above is only about the relationship between the most general movement form of emotional types and the sound of music. The purpose is to show that facial expressions can be expressed between music because of the isomorphism, homomorphism and isomorphism between the movement form of facial expressions and the movement form of music. This formal music makes it possible to express emotions.

In addition, Kirk's "special concretization" actually means the same thing, which means that the facial expressions expressed by music not only have detailed typological characteristics of each other in basic nature, but also have different characteristics and personalized facial expressions. For example, the joy and pain are excellent emotions, and the joy in The Shepherd's Piccolo is completely different from that in Mendelssohn's violin concerto. The pain in Pyotr Il'yich Tchaikovsky's pathetique symphony is also different from the pain in the Chinese folk music "Rivers and Rivers". If we must get to the bottom of the difference between joy and pain, that is, their music is different; It can also be explained in words,

that is, its root lies in the fact that these joys and pains are the joys and pains of different characters in different situations, and their performance in music is bound to have the same personality. If the composer's subjective factors, that is, his feelings about the work, his creative personality and the specific characteristics of leisure facial expressions, are taken into account, it will be more obvious.

Therefore, we believe that facial expressions in music are not only typed emotions, but also personalized emotions, which permeate the composer's personality and are associated with specific characters and life situations. The unity of typology and personalization should be the basic characteristics of musical leisure facial expressions. At this point, it is consistent with the typification principle of other arts.