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題名 音樂聆聽經驗的意義建構歷程：以十二位大學生聽、說歌曲〈菊花夜行軍〉為例
作者 許馨文
Hsu, Hsin-wen
貢獻者 吳翠珍
許馨文
Hsu, Hsin-wen
關鍵詞 音樂
聆聽
意義建構
紮根理論方法
交工樂隊
music
listening
meaning construction
Grounded Theory
Labor Exchange Band
日期 2003
上傳時間 17-Sep-2009 15:38:11 (UTC+8)
摘要 本文旨在探索被「常識化」、「瑣碎化」的一般人的聆聽感受與詮釋，以十二位大學生對歌曲〈菊花夜行軍〉的聆聽論述為分析對象，希望從他們所敘說的「個人真實」中，探究「聆聽者對自身聆聽經驗賦予意義的歷程」。本文具體的研究問題有二：首先，聆聽者如何與一首歌曲文本進行「互動」，將「非語意」的音樂聲響與聆聽感受賦予意義？這些意義是透過哪些敘說類型表達出來？其次，形塑聆聽意義的關鍵因素為何？這些因素如何發生作用？

研究結果發現，人們置身音樂聲響的環抱之初，感受到的是「渾沌」的情緒現身：一種「身處陌生的音樂聲響，意識不知該指向何方」的狀態。為了「領會/理解」自己所聽到的音樂文本「是什麼」，聆聽者朝向自身的「先前理解」尋求答案。在獲得「領會/理解」的歷程中，聆聽者以「分段呼應聲響線索」、「綜合聆聽感受為一意境」、「提出主觀評價」、「拼湊語意線索」、「參照已知歌詞做詮釋」等「意義建構模式」與文本進行互動，此時「先行具有」與「先行掌握」就像折射鏡，讓聆聽者看到當下自己所「先前見到」的聲響線索和語意線索，與自身過去的生命經驗有何牽連。同時間，聆聽感受也就在自身「先前理解」的映照下逐漸「語意化」、「邏輯化」，而獲得具體的意義。這些意義透過各種「意義建構類型」具體地轉化為言語，而以「聯想故事/意象/意境」、「共感性格」、「形式樣態」、「主觀評價」等「譬喻校正」的語彙，以及「提出形式術語」、「搜尋語意線索」、「參照歌詞詮釋」等相對明確的敘說方式給出。

簡言之，「音樂聆聽經驗的意義建構」就像是「究竟」與「認識」的歷程，在此之中，聆聽意義在辨證與給出的過程中與原初的「渾沌情緒」逐漸脫鈎。然而，儘管「音樂聆聽經驗的意義建構」不能充分表達聆聽者當下的體會，但這不表示聆聽者所敘說、分享的故事與感覺不夠「原真」而沒有價值；相反地，聆聽者以自身的意識與生命經驗與文本彼此呼應，從而給作品多采多姿的意義，不但豐富了音樂的價值，更讓聆聽者藉此了解到作品與自身的關係，並且從意義的映照當中，看見自己某個當下的處境、價值與慾求。
The purpose of this thesis is to explore people’s listening experience, and to establish an interpretative grounded theory about the process of personal musical meaning construction, which is usually thought to be trivial.

Several research questions are to be answered under the research purpose above: First, how do listeners interact with a piece of music and locate certain personal meanings in minds for the originally non-semantic acoustic sounds? Second, in which ways are these personal meanings given by oral narrations? Third, what’s the crucial factor affecting listeners’ idea about their feelings? How does the factor influence the process of meaning construction?

To answer these questions, the researcher interviewed 12 college students, asking them to talk about their personal views toward one musical text: Labor Exchange Band’s song titled “The Night March of the Chrysanthemums” before and after reading the lyrics.

The collective narratives indicate that interviewees felt an ineffable “chaos” state, in which they tried to position their consciousness, once embraced in the sonorous envelop of the musical text. To understand what and why some feelings were aroused in their mind, interviewees searched for the “pre-understanding” themselves, and then the “pre-possession” and the “pre-grasp” in their personal life experience let them make sense of certain “musical attributes” in the musical text, such as melody, harmony, rhythm, timber, language, linguistic meaning. Moreover, the interaction between these musical attributes and listeners’ pre-understanding invented some acoustic or semantic clues, and then produced vivid meanings for the previous chaos listening experience.

On the other hand, the personal musical meanings were given in three ways: First, the interviewees expressed their feelings by “metaphorical correction”, which consists of the following four kinds of narrative form: “Associated story, image, or one abstract artistic conception”, “synesthesia character”, “formal condition” and “subjective judgment”. Second, they identified what they had heard by “formal jargons”, which are taken by generally musicological common consensus. Third, they elaborated their musical meanings by “semantic clues” identified by cultural system they aware of, as well as the lyric content they had just caught.

In sum, the process of musical meaning construction is like a journey of making sense what the listener has heard within personal psychological history. In the process, the fluid meaning interpreted by the listener might be different from the primitive moved arousal. However, it doesn’t indicate that the reflective discourses are not “authentic” enough or too trivial. On the contrary, the idiosyncratic narratives from private life experience not only bestow diverse values on the musical text, but also represent the relationship between the listener and the music, mirroring the interpreter’s condition, value and desire at a particular moment.
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鄭君仲 (2000)。《我迷，故我在─流行音樂樂迷和流行音樂文本互動關係之探索》。世新大學傳播研究所碩士論文。
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蘇郁惠 (1996)。〈音樂認知技巧：一般認知技巧與音樂領域的整合〉。《新竹師院學報》。9: 469-486。國立新竹師範學院。
西文部份：
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Beament, J. (2001). How We Hear Music: The Relationship between Music and the Hearing Mechanism. The Boydell Press. Woodbridge, U.K.
Blacking, J. (1982). The Structure of Musical Discourse: The Problem of the Song Text. In 1982 Yearbook for Traditional Music. International Council for Traditional Music.
-------------(1995). Music, Culture and Experience. In Byron, R. (ed.). Music, Culture and Experience: Selected Papers of John Blacking. The University of Chicago Press.
Bogdan, R. & Biklen, S. K.著，李奉儒等譯 (2001)。《質性教育研究》(Qualitative Research for Education: an Introduction to Theory and Methods)。嘉義：濤石文化。
Brown, C.著，林芳如譯 (1993)。《搖滾樂的藝術》(The Art of Rock and Roll)。台北：萬象。
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參考音樂專輯
交工樂隊 (1999)。《我等就來唱山歌--反水庫運動記實》。台北：大大樹音樂圖像。
交工樂隊 (2001)。《菊花夜行軍》。台北：大大樹音樂圖像。
吳榮順、謝宜文採集 (1997)。《美濃人美濃歌》。台北：風潮唱片。
工人鬥陣、黑手那卡西 (1998)。《福氣個屁：台灣第一張工運抗爭歌曲專輯》。台北：台灣勞工教育資訊發展中心。
描述 碩士
國立政治大學
廣播電視學研究所
89453014
92
資料來源 http://thesis.lib.nccu.edu.tw/record/#G0089453014
資料類型 thesis
dc.contributor.advisor 吳翠珍zh_TW
dc.contributor.author (Authors) 許馨文zh_TW
dc.contributor.author (Authors) Hsu, Hsin-wenen_US
dc.creator (作者) 許馨文zh_TW
dc.creator (作者) Hsu, Hsin-wenen_US
dc.date (日期) 2003en_US
dc.date.accessioned 17-Sep-2009 15:38:11 (UTC+8)-
dc.date.available 17-Sep-2009 15:38:11 (UTC+8)-
dc.date.issued (上傳時間) 17-Sep-2009 15:38:11 (UTC+8)-
dc.identifier (Other Identifiers) G0089453014en_US
dc.identifier.uri (URI) https://nccur.lib.nccu.edu.tw/handle/140.119/33151-
dc.description (描述) 碩士zh_TW
dc.description (描述) 國立政治大學zh_TW
dc.description (描述) 廣播電視學研究所zh_TW
dc.description (描述) 89453014zh_TW
dc.description (描述) 92zh_TW
dc.description.abstract (摘要) 本文旨在探索被「常識化」、「瑣碎化」的一般人的聆聽感受與詮釋，以十二位大學生對歌曲〈菊花夜行軍〉的聆聽論述為分析對象，希望從他們所敘說的「個人真實」中，探究「聆聽者對自身聆聽經驗賦予意義的歷程」。本文具體的研究問題有二：首先，聆聽者如何與一首歌曲文本進行「互動」，將「非語意」的音樂聲響與聆聽感受賦予意義？這些意義是透過哪些敘說類型表達出來？其次，形塑聆聽意義的關鍵因素為何？這些因素如何發生作用？

研究結果發現，人們置身音樂聲響的環抱之初，感受到的是「渾沌」的情緒現身：一種「身處陌生的音樂聲響，意識不知該指向何方」的狀態。為了「領會/理解」自己所聽到的音樂文本「是什麼」，聆聽者朝向自身的「先前理解」尋求答案。在獲得「領會/理解」的歷程中，聆聽者以「分段呼應聲響線索」、「綜合聆聽感受為一意境」、「提出主觀評價」、「拼湊語意線索」、「參照已知歌詞做詮釋」等「意義建構模式」與文本進行互動，此時「先行具有」與「先行掌握」就像折射鏡，讓聆聽者看到當下自己所「先前見到」的聲響線索和語意線索，與自身過去的生命經驗有何牽連。同時間，聆聽感受也就在自身「先前理解」的映照下逐漸「語意化」、「邏輯化」，而獲得具體的意義。這些意義透過各種「意義建構類型」具體地轉化為言語，而以「聯想故事/意象/意境」、「共感性格」、「形式樣態」、「主觀評價」等「譬喻校正」的語彙，以及「提出形式術語」、「搜尋語意線索」、「參照歌詞詮釋」等相對明確的敘說方式給出。

簡言之，「音樂聆聽經驗的意義建構」就像是「究竟」與「認識」的歷程，在此之中，聆聽意義在辨證與給出的過程中與原初的「渾沌情緒」逐漸脫鈎。然而，儘管「音樂聆聽經驗的意義建構」不能充分表達聆聽者當下的體會，但這不表示聆聽者所敘說、分享的故事與感覺不夠「原真」而沒有價值；相反地，聆聽者以自身的意識與生命經驗與文本彼此呼應，從而給作品多采多姿的意義，不但豐富了音樂的價值，更讓聆聽者藉此了解到作品與自身的關係，並且從意義的映照當中，看見自己某個當下的處境、價值與慾求。		zh_TW
dc.description.abstract (摘要) The purpose of this thesis is to explore people’s listening experience, and to establish an interpretative grounded theory about the process of personal musical meaning construction, which is usually thought to be trivial.

Several research questions are to be answered under the research purpose above: First, how do listeners interact with a piece of music and locate certain personal meanings in minds for the originally non-semantic acoustic sounds? Second, in which ways are these personal meanings given by oral narrations? Third, what’s the crucial factor affecting listeners’ idea about their feelings? How does the factor influence the process of meaning construction?

To answer these questions, the researcher interviewed 12 college students, asking them to talk about their personal views toward one musical text: Labor Exchange Band’s song titled “The Night March of the Chrysanthemums” before and after reading the lyrics.

The collective narratives indicate that interviewees felt an ineffable “chaos” state, in which they tried to position their consciousness, once embraced in the sonorous envelop of the musical text. To understand what and why some feelings were aroused in their mind, interviewees searched for the “pre-understanding” themselves, and then the “pre-possession” and the “pre-grasp” in their personal life experience let them make sense of certain “musical attributes” in the musical text, such as melody, harmony, rhythm, timber, language, linguistic meaning. Moreover, the interaction between these musical attributes and listeners’ pre-understanding invented some acoustic or semantic clues, and then produced vivid meanings for the previous chaos listening experience.

On the other hand, the personal musical meanings were given in three ways: First, the interviewees expressed their feelings by “metaphorical correction”, which consists of the following four kinds of narrative form: “Associated story, image, or one abstract artistic conception”, “synesthesia character”, “formal condition” and “subjective judgment”. Second, they identified what they had heard by “formal jargons”, which are taken by generally musicological common consensus. Third, they elaborated their musical meanings by “semantic clues” identified by cultural system they aware of, as well as the lyric content they had just caught.

In sum, the process of musical meaning construction is like a journey of making sense what the listener has heard within personal psychological history. In the process, the fluid meaning interpreted by the listener might be different from the primitive moved arousal. However, it doesn’t indicate that the reflective discourses are not “authentic” enough or too trivial. On the contrary, the idiosyncratic narratives from private life experience not only bestow diverse values on the musical text, but also represent the relationship between the listener and the music, mirroring the interpreter’s condition, value and desire at a particular moment.		en_US
dc.description.tableofcontents 第一章：緒論 1
第一節：研究問題之提出 1
第二節：名詞釋義 10
第三節：章節介紹 11

第二章：文獻探討 13
第一節：音樂意義的建構類型 13
第二節：音樂意義建構歷程的特徵 18
第三節：形塑聆聽意義的關鍵因素 23

第三章：研究方法 31
第一節：本文研究取徑 31
第二節：研究工具 34
第三節：聆聽文本的選取 35
第四節：訪談對象、訪談大綱、訪談歷程說明 38
第五節：訪談結果的分析方式 47

第四章：訪談結果分析 51
第一節：十二位聆聽者對歌曲〈菊花夜行軍〉的詮釋結果 51
一、「理解歌詞前」，建構聆聽意義的四種模式、六種類型 56
二、「理解歌詞後」，建構聆聽意義的兩種模式、四種類型 82
第二節：所「說」從何而來？產生聆聽意義的原因 101

第五章：結論 134
第一節：研究結果與研究意涵 134
第二節：研究限制 139
第三節：未來研究方向之建議 141

參考書目 144
參考音樂專輯 149
附錄(一)：聆聽文本的特色分析 150
附錄(二)：訪談前測 176

附表索引
表3.1：受訪者的個人基本資料 44
表3.2：受訪者的進階個人質素說明 45
表3.3：開放編碼分析案例 48

附圖索引
圖2.1：Steven Feld的「詮釋移動」理論 20
圖4.1：聆聽感受的語意化 99
圖4.2：《菊花夜行軍》專輯封面 120
圖4.3：聆聽意義的領會/理解 132

歌曲〈菊花夜行軍〉採譜索引
譜例(1)：前奏當中管子演奏出的旋律母題 160
譜例(2)：前奏當中月琴的伴奏 161
譜例(3)：主唱旋律母題一 162
譜例(4)：主唱旋律母題一第一次變化 162
譜例(5)：主唱旋律母題一第二次變化 162
譜例(6)：主唱旋律母題一第三次變化 162
譜例(7)：主唱旋律母題二 163
譜例(8)：小鼓擊型一 163
譜例(9)：小鼓擊型二 163
譜例(10)：管子母題變奏 164
譜例(11)：二部答唱與答數之主旋律 165
譜例(12)：嗩吶演奏的國際歌 166
譜例(13)：月琴在國際歌當中的伴奏 167
譜例(14)：小鼓在國際歌當中的節拍型 167
譜例(15)：嗩吶演奏管子母題 168
譜例(16)：主唱旋律母題一的變化 169
譜例(17)：嗩吶演奏管子母題 170
譜例(18)：兩次答數最後一小節之差異 170
譜例(19)：嗩吶尾奏 171
譜例(20)：客家山歌〈桃花開〉主旋律 172		zh_TW
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dc.language.iso en_US-
dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0089453014en_US
dc.subject (關鍵詞) 音樂zh_TW
dc.subject (關鍵詞) 聆聽zh_TW
dc.subject (關鍵詞) 意義建構zh_TW
dc.subject (關鍵詞) 紮根理論方法zh_TW
dc.subject (關鍵詞) 交工樂隊zh_TW
dc.subject (關鍵詞) musicen_US
dc.subject (關鍵詞) listeningen_US
dc.subject (關鍵詞) meaning constructionen_US
dc.subject (關鍵詞) Grounded Theoryen_US
dc.subject (關鍵詞) Labor Exchange Banden_US
dc.title (題名) 音樂聆聽經驗的意義建構歷程：以十二位大學生聽、說歌曲〈菊花夜行軍〉為例zh_TW
dc.type (資料類型) thesisen
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