Percepcja muzyki – słuchanie muzyki czy słuchanie dźwięków

P. Podlipniak
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Abstract

Listening to music is usually understood as perception of a stimulus of a particular kind which, however, does not differ in any special way from listening to other, non-musical sound stimuli. Numerous observations show, however, that the majority of musical stimuli is perceived in a particular manner, suggesting that alongside the cognitive strategies used in the perception of all kinds of sound stimuli, listening to music also activates music-specific cognitive mechanisms. On the other hand, a large section of musical artistic output of the Western culture in the twentieth century became an exceptional phenomenon, both in historical and geographical perspective, in that it abandoned the organisation of the sound structure of music on the basis of pitch-rhythm relationships. From the psychological perspective, this exceptionality consists above all in omitting, during the perceptual processing of this kind of music, of some of the perceptual cognitive structures characteristically involved in the perception of traditionally conceived melodic structures. For a full understanding of the ways of perceiving music it is thus necessary to apply contemporary knowledge of the specific features of the human cognitive system and its evolutionary sources. The aim of the article is to presenta number of various cognitive mechanisms of different evolutionary age which are involved in the perception of music, as well as an attempt to indicate their differentiated participation in the creation of the aesthetic experience of different kinds of music.
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听音乐通常被理解为对一种特殊刺激的感知,然而,这种刺激与听其他非音乐的声音刺激没有任何特殊的区别。然而,大量的观察表明,大多数音乐刺激都以一种特定的方式被感知,这表明除了感知各种声音刺激时使用的认知策略外,听音乐也激活了音乐特定的认知机制。另一方面,从历史和地理的角度来看,20世纪西方文化的很大一部分音乐艺术产出成为一种特殊现象,因为它放弃了以音高节奏关系为基础的音乐声音结构的组织。从心理学的角度来看,这种特殊性首先在于,在对这种音乐的感知加工过程中,忽略了一些传统旋律结构感知中特有的感知认知结构。为了充分理解感知音乐的方式,因此有必要应用人类认知系统的具体特征及其进化来源的当代知识。本文的目的是提出不同进化年龄的人在音乐感知中所涉及的各种认知机制,并试图表明它们在不同类型音乐的审美体验创造中的差异化参与。
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