Music, Culture and Ideas Music, Culture and Ideas

音樂 , 文化與觀念

What is a good What is a good music?music?

Leonard B. Meyer 麥爾 , Music, the Arts, and Ideas, chapter two

("Some Remarks on Value and Greatness in Music" 關於音樂的價值與偉大 )

What makes music great?What makes music great?

What makes music great? In grappling with these perplexing problems I have changed my mind many times, testing first this view then that; finding this objection then another to what I thought at first to be tenable positions.

Nor have I as yet arrived at any fixed opinions or final conclusions.

What makes music great?What makes music great? "What makes music great?" is one that anyone deeply

concerned with his art must attempt at least to answer. We cannot nor can they for all their rationalizations-really escape from the problem of value.

This is true in two senses. We are in fact continually making value judgments both

for ourselves and others. I must choose between works, exercising value judgments.

The second reason - a system or ordering of values is implicit in his account of how and what art communicates. Indeed, as soon as we say it communicates, we introduce values into the discussion. At one time I subscribed to I. A. Richard's statement that "the two pillars upon which a theory of criticism must rest are an account of value and an account of communication”

一首好的音樂作品 一首好的音樂作品

•前後貫通的風格

•多樣性的變化 •統一性及其他所有未列之處

Good WorkGood Work

小星星Bach: B minor Mass

風格、統一性、多變化 風格、統一性、多變化

•長度、大小、複雜性都不是決定因素

兩首賦格曲的主題兩首賦格曲的主題•FRANCESCO GEMINIANI Concerto grosso in E minor, Op. 3, No. 3 Allegro    02:00

•J. S. Bach•Fugue in G minor

BothBoth begin on the fifth degree of the scale, move to the tonic skip an octave, creates a structural gap, a sense of

incompleteness. We expect that the empty space thus outlined will

be filled-in, made complete. This melodic incompleteness is complemented by

the rhythmic instability of this first musical shape. That is, the first separable musical events in both themes are up-beats which are oriented toward the stability of down-beats.

BothBothIn a sense the structural gap and the

rhythmic up-beats have establishedmusical goals to be reached. We expect the

melodic line to descend and ultimatelyto come to rest on the tonic note, reaching a

clear organizing accent inthe course of this motion.

BachBach

theme moves down slowly with delays and temporary diversions

through related harmonic areas. It establishes various levels of

melodic activity with various potentials to be realized.

these delays arerhythmic as well as melodic

GeminianiGeminiani moves directly-or almost directly-to its goal. The second measure is chromatic and contains a

potential for different modes of continuation. Of these the return to the B is certainly the most probable, but only slightly so.

once the B is reached, the descent to E seems almost inevitable. And when the theme falls to this obvious consequent with neither

delay nor diversion, it seems like a blatant platitude, a musical cliche

GeminianiGeminiani

BachBach

價值推論價值推論•一個沒有趨向 (tendencies) 的曲調或作品價值低

•最可能的目標以最接近和最直接的方式達到價值低

•目標一直無法達成 , 或趨向散失其動力價值低

Robert Penn WarrenRobert Penn Warren

". . . a poem, to be good, mustearn itself. It is a motion toward a point of

rest, but if it is not a resisted motion,it is a motion of no consequence.

Information Theory Information Theory 訊息理訊息理論→音樂價值論→音樂價值

Resistence Resistence － － ValueValueIf we hear onlya single tone, a great number of different

tones could follow it with equal probability.If a sequence of two tones is heard the

number of probable consequent tones is somewhat reduced

Information Theory Information Theory 訊息理訊息理論→音樂價值論→音樂價值

a situation is highly organized so that the possible consequents have a high degree of probability,

then if the probable occurs, the information communicated by the message is minimal. If, on the other hand,

the musical situation is less predictable so that the antecedent-consequent relationship does not have a high degree of probability, then the information contained in the musical message will be high.

". . .the more probable the message, the less its information. Clichés,

for example, are less illuminating than great poem

Information Theory Information Theory 訊息理訊息理論→音樂價值論→音樂價值

抵擋抵擋 (( 偏離偏離 )) ：有價值：有價值 不確定性： 與價值有關不確定性： 與價值有關She is as tall as Bill isShe is as tall as Bill isShe is as tall as BlueShe is as tall as BlueShe is as tall blue lilacs are She is as tall blue lilacs are

Information Theory Information Theory 訊息理訊息理論→音樂價值論→音樂價值

desirable and undesirable uncertainty.Desirable uncertainty is that which arises as a

result of the structured probabilities of a musical style. Information is a function of such uncertainty.

Undesirable uncertainty arises when the probabilities are not known, either because

the listener's habit responses are not relevant to the style or because external interference obscures the structure of the situation in question

原始音樂、藝術音樂之分別原始音樂、藝術音樂之分別在於對於趨向達成的速度在於對於趨向達成的速度

– 原始音樂 : a smaller repertory of tones, that the distance of these notes from the tonic is smaller, that there is a great deal of repetition, though often slightly varied repetition, and so forth.

– 直接滿足 直接滿足 – 無法容忍不確定性無法容忍不確定性– The primitive seeks almost immediate gratification for

his tendencies whether these be biological or musical. Nor can he tolerate uncertainty.

– Note, by the way, that popular music can be distinguished from real jazz on the same basis.

個人的成熟∕文化的成熟個人的成熟∕文化的成熟樂意放棄直接性、次要的←→最終的樂意放棄直接性、次要的←→最終的滿足滿足

趨向的抑制與欣然接受不確定性趨向的抑制與欣然接受不確定性比賽 比賽 , , 登山登山

直接的滿足與延遲的滿足都有價值不竟是同價

價值由音樂經驗的品質所引起value refers to a quality of musical

experience. It is inherent neither in the musical object per se nor in the mind of the listener per se. 價值的產生基於一個過程的結果 , which takes place within an objective tradition, 在於音樂作品與聽者間 . 也就是說 , 任一音樂經驗的價值是基於兩個變數 : 聽者的接收回應的能力 ( 他了解此音樂的風格 ) 與他回應的方式

欣賞音樂三個面向：欣賞音樂三個面向：感官的 感官的 Sensuous Sensuous 聯想描繪的聯想描繪的 Associative-charactering Associative-charactering 語法的 語法的 SyntacticalSyntactical

– 雖然每首音樂都或多或少牽涉到這雖然每首音樂都或多或少牽涉到這三個方向 但某些作品傾向強調某三個方向 但某些作品傾向強調某個面向而弱化其餘的個面向而弱化其餘的

欣賞音樂三個面向：欣賞音樂三個面向：感官的 感官的 Sensuous Sensuous －－ 立即滿足立即滿足

immediate gratification of the sensuous immediate gratification of the sensuous and the exclamatory outburst of and the exclamatory outburst of uncontrolled, pent-up energyuncontrolled, pent-up energy

語法的 語法的 Syntactical ---Syntactical --- 延遲滿足延遲滿足 delayed delayed gratification arising out of the perception gratification arising out of the perception of and response to the syntactic of and response to the syntactic relationships which shape and mold relationships which shape and mold musical experience, whether intellectual musical experience, whether intellectual or emotional. or emotional.

欣賞音樂三個面向：欣賞音樂三個面向： 關聯性關聯性 The associative may function with either. The associative may function with either.

It may color our sensuous pleasures with the It may color our sensuous pleasures with the satisfactions of wish-fulfillment. Or it may shape satisfactions of wish-fulfillment. Or it may shape our expectations as to the probabilities of our expectations as to the probabilities of musical progress by characterizing musical musical progress by characterizing musical events.events.

如同我們評估一個人的個性後如同我們評估一個人的個性後 , , 會預期他可能的會預期他可能的行為行為 , , 當我們評估一個音樂主題或音樂事件的個當我們評估一個音樂主題或音樂事件的個性後性後 , , 一樣會形塑我們對之後音樂進行的期待一樣會形塑我們對之後音樂進行的期待 . . 反過來說反過來說 , , 音樂事件的進行是規則的音樂事件的進行是規則的 , , 偏離的偏離的 , , 出人意外的出人意外的 , , 影響了我們對其個性特質的認定影響了我們對其個性特質的認定 . . 因此音樂溝通中因此音樂溝通中語法語法 -- 描繪性描繪性的面向的面向 , , 幾乎是無幾乎是無可避免的的關聯在一起可避免的的關聯在一起 , ,

欣賞音樂三個面向：欣賞音樂三個面向：價值問題價值問題 , , 欣賞音樂的三個面向有等同的欣賞音樂的三個面向有等同的價值嗎價值嗎 ? ? – 感官感官 - - 描繪性 描繪性 vs. vs. 語法語法 -- 描繪性描繪性– 流行歌曲的最好版本 流行歌曲的最好版本 vs. Beethovenvs. Beethoven 的的

第第 99 號交響曲號交響曲– Debussy Debussy 牧神午後 牧神午後 VS BeethovenVS Beethoven 的的

第第 9 9 – 相對主義 相對主義 Relativism: Relativism: 每個作品對它相應每個作品對它相應

類型是好的類型是好的 , , 這樣就結了這樣就結了 . . – 規避了這個問題規避了這個問題 , , 而沒有解決它而沒有解決它 . . 所有類型所有類型

的音樂都一樣好嗎的音樂都一樣好嗎 ? ?

欣賞音樂三個面向：欣賞音樂三個面向：原始音樂與複雜音樂區分原始音樂與複雜音樂區分 , , 成熟度 成熟度 : :

– 樂意延遲趨向樂意延遲趨向– 容忍不確定性 容忍不確定性

因為成熟化或個性化本身是生活中我們不因為成熟化或個性化本身是生活中我們不斷得面對的斷得面對的抗拒抗拒 , , 問題問題 , , 不確定性不確定性所造成所造成的 的

G. H. MeadG. H. Mead: : – ““ 只有在面對困難並克服它們只有在面對困難並克服它們 , , 作必須的選作必須的選擇之擇之 , , 做不得做的決定做不得做的決定 , , 每個自我每個自我 ((self)self) 才才察覺到本體察覺到本體 ((itself)itself) 而成為而成為 ((self), self), 只有在經歷只有在經歷了人生旅途了人生旅途 , , 經歷了苦痛經歷了苦痛 , , 我們才能了解自我們才能了解自己是個怎樣的人己是個怎樣的人 . . (self-realization(self-realization 自我實現自我實現 ))

欣賞音樂三個面向：欣賞音樂三個面向： the evaluation of alternative probabilities and the

retrospective understanding of the relationships among musical events as they actually occurred leads to 自覺 (self-awareness) 與個性化(individualization) that the syntactical response is more valuable than those responses in which 自我的融入 , losing its identity in voluptuous sensation or in the reverie of day-dreams.

works involving deviation and uncertainty are better than those offering more immediate satisfaction.

other modes of enjoyment are not without value, but rather that they are of a lesser order of value.

欣賞音樂三個面向：欣賞音樂三個面向：aside from the most primitive forms of

musical emotional outburst and the most blatant appeals to the sensuous such as one finds in the cheapest pop-arrangements,

no musical works of art in which syntactical relationships do not play a significant role. Nor will it do to try to arrange musical works in order of their syntactical vs. their sensuous-associative appeals.

Debussy 牧神午後 emphasizes the sensuous, is syntactically complex-as complex, Mozart's famous Piano Sonata in C Major

欣賞音樂三個面向：欣賞音樂三個面向： The sensuous-associative is of minor importance in

the consideration of value Music must be evaluated syntactically

– which of two works has greater sensuous appeal or evokes more poignant associations ?

the determinants of value from the syntactical the determinants of value from the syntactical viewpointviewpoint – that complexity, size, and length are not in themselves

virtues. – the intricate and subtle interconnections of a complex

work involve considerable resistance and uncertainty-and presumably information-value is thereby created.

語法價值判斷：語法價值判斷：This viewpoint seems more plausible

– as we become more familiar with a complex work and are therefore better able to comprehend the permutations and interrelations among musical events, our enjoyment is increased. For the information we get out of the work is increased.

meaningful events– must arise out of a set of probability

relationships, a musical style – the capacity of the human mind to perceive and

relate patterns to one another and to remember them would appear to limit complexity.

語法價值判斷：語法價值判斷：complexity vs. value

– while complexity is not the sufficient cause of value, the implication that the two are in no way related is simply not true .

a relatively simple but touching work– Schubert's song, "Das Wandern" – relatively simple pieces such as some of

Schubert's songs or Chopin's Preludes are better-more rewarding than some large and complex works, such as, for instance, Strauss' Don Quixote. .

語法價值判斷：語法價值判斷：information is judged not in absolute, but in

relative terms. – For we evaluate not only the amount of

information in a work but also the relationship between the stimulus "input" and the actual informational "output.“

– "principle of psychic economy" – two pieces - the same amount of information -

not be equally good - one is less elegant and economical than the other.

– a piece which is deficient in elegance may be better than a more economical piece because it contains substantially more information provides a richer musical experience.

GreatnessGreatness 偉大偉大The content of musical experience is also an

important aspect of its quality the essence of tragedy springs from the fact

of human dignity it is by our power to suffer, that we are of

more value than the sparrows. it is because tragic suffering, arising out of

the ultimate uncertainties of human existence, is able to individualize and purify our wills that we are of more value than the sparrows.

GreatnessGreatness 偉大偉大Evil: war, poverty, disease, old age, and all

other forms of suffering – they lead to the degradation and dissolution of

the self. – The individual will is lost in the primordial

impulses of the group

Freud has pointed out– group "cannot tolerate any delay between its

desires and the fulfillment of what it desires.– it brings about a regression toward the

immaturity of primitivism.

GreatnessGreatness 偉大偉大However in instances where the individual

is able to master it through understanding, as Job did, suffering may ultimately be good. For though, like medical treatment, it is painful, suffering may lead to a higher level of consciousness and a more sensitive, realistic awareness of the nature and meaning of existence. Indeed all maturation, all self-discovery, is in the last analysis more or less painful.

GreatnessGreatness 偉大偉大the wonder of great art is this: that through it

we can approach this highest level of consciousness and understanding without paying the painful price exacted in real life and without risking the dissolution of the self which real suffering might bring.

道德價值與個人價值道德價值與個人價值 moral values and

– Moral values deal with what will probably be good or bad for men taken as a group

– a normative, relativistic view in which values change from culture to culture and from group to group within the culture

individual values. – Individual values are concerned with experience as it

relates to particular men and women – a universal view of value, though recognizing that

ultimate value goals may be reached by somewhat different means in different cultures. Indeed it is because the individual dimension of value is universal that, where translation is possible (as it is not in music), one is able to enjoy and value art

道德價值與個人價值道德價值與個人價值 moral values and

– Moral values deal with what will probably be good or bad for men taken as a group

– a normative, relativistic view in which values change from culture to culture and from group to group within the culture

individual values. – Individual values are concerned with experience as it

relates to particular men and women – a universal view of value, though recognizing that

ultimate value goals may be reached by somewhat different means in different cultures. Indeed it is because the individual dimension of value is universal that, where translation is possible (as it is not in music), one is able to enjoy and value art

aesthetic value a part of moral value ???

John KeatsJohn KeatsMan is originally a poor forked creature subject to the same

mischances as the beasts of the forest, destined to hardships and disquietude of some kind or other.. . . The common cognomen of this

world among the misguided and superstitious is "a vale of tears" from which we are to be redeemed by a certain arbitrary interposition of God and taken to heaven. What a little circumscribed straightened

notion I Call the world if you please "the vale of Soul-making." Then you will find out the use of the world.. . . I say "soul making1'-Soul as

distinguished from Intelligence. There may be intelligences or sparks of the divinity in millions--but they are not souls till they acquire

identities, till each one is personally itself.. . . How then are Souls made?. . . . How but by the medium of a world like this?. . . . I will call the world a School instituted for the purpose of teaching little children

how to read-I will call the human heart the horn book read in that school-and I will call the Child able to read, the Soul made from that School and its horn book. Do you not see how necessary a World of Pains and troubles is to school an Intelligence and make it a soul? A

place where the heart must feel and suffer in a thousand diverse ways.. . . As various as the Lives of Men are-so various become their

souls, and thus does God make individual beings.. . ."