音乐内在意义的认知神经机制
Neurocognitive Mechanism of Intra-Musical Meaning
DOI: 10.12677/AP.2019.93056, PDF,   
作者: 王 蓉:湖南师范大学教育科学学院,湖南 长沙
关键词: 音乐内在意义神经机制N5Music Intra-Musical Meaning Neurocognitive Mechanism N5
摘要: 音乐事件之间的互动产生音乐的内在意义。对音乐内在意义的理解是体现听众专业音乐素养差异的重要参照。音乐的内在意义与音乐的外在意义相对,指的是对音乐的内部要素、结构进行加工,这种意义纯粹由音乐本身所引发,不指向外部。研究依据音乐训练的经历将听众划分为音乐家组和非音乐家组考察加工音乐内在意义的神经机制,发现了具有代表性且为音乐内在意义所特有的脑电成分——N5。尽管音乐的外在意义与内在意义之分得到了较多的认可和使用,但是目前的学界仍然对这样的分类存在一定的质疑,未来的研究将进一步考察音乐内在意义的深层加工机制,以期更加全面地认识音乐的内在意义,为厘清音乐的内外在意义的关系提供支持。
Abstract: The interaction between musical events produces the intra-musical meaning. The understanding of the intra-meaning of music is an important reference to reflect the differences in the profes-sional music literacy of the audience. The intra-meaning of music is opposite to the extra-meaning of music. Intra-musical meaning refers to the processing of the elements and structure of music. This meaning is purely caused by the music itself and does not point to the outside. Based on the experience of music training, the study divided the audience into the musicians and non-music groups to study the neural mechanism of intra-musical meaning, and found a representative brain component—N5. Although the extra-meaning and the intra-meaning of music have been more recognized and used, there still have some doubts about such classification. Future research will further examine the processing mechanism of the intra-musical meaning, in order to more fully understand the intra-musical meaning. It provides support for clarifying the relationship between intra-musical meaning and extra-musical meaning.
文章引用:王蓉 (2019). 音乐内在意义的认知神经机制. 心理学进展, 9(3), 457-461. https://doi.org/10.12677/AP.2019.93056

参考文献

[1] 蒋存梅(2016). 音乐心理学(pp. 138-220). 上海: 华东师范大学出版社.
[2] 马谐, 杨玉芳, 张秋月(2016). 音乐句法的加工. 科学通报, 61(10), 1099-1111.
[3] 余习德, 鲁成, 熊希灵, 高定国(2017). 音乐意义传递的神经证据——基于启动范式的发现与思考. 心理科学进展, 25(5), 742-756.
[4] Hanslick, E. (1854). The Beautiful in Music (7th ed.). G. Cohen, Trans. New York: Liberal Arts Press.
[5] Koelsch, S. (2011). Towards a Neural Basis of Processing Musical Semantics. Physics of Life Reviews, 8, 89-105.[CrossRef] [PubMed]
[6] Koelsch, S. (2012). Brain and Music (pp. 156-185). Hoboken, NJ: John Wiley & Sons.
[7] Koelsch, S., & Mulder, J. (2002). Electric Brain Responses to Inappropriate Harmonies during Listening to Expressive Music. Clinical Neurophysiology, 113, 862-869.[CrossRef
[8] Koelsch, S., & Siebel, W. A. (2005). Towards a Neural Basis of Music Perception. Trends in Cognitive Sciences, 9, 578-584.
[9] Koelsch, S., Gunter, T. C., Friederici, A. D., & Schröger, E., (2000). Brain Indices of Music Processing: ‘‘Nonmusicians’’ Are Musical. Journal of Cognitive Neuroscience, 12, 520-541.[CrossRef] [PubMed]
[10] Koelsch, S., Gunter, T. C., Schröger, E., Tervaniemi, M., Sammler, D., & Friederici, A. D. (2001). Differentiating ERAN and MMN: An ERP Study. Neuroreport, 12, 1385-1389.[CrossRef] [PubMed]
[11] Koelsch, S., Gunter, T. C., Wittfoth, M., & Sammler, D. (2005). Interaction between Syntax Processing in Language and in Music: An ERP Study. Journal of Cognitive Neuroscience, 17, 1565-1577.[CrossRef] [PubMed]
[12] Koelsch, S., Kasper, E., Sammler, D., Schulze, K., Gunter, T., & Friederici, A. D. (2004). Music, Language and Meaning: Brain Signatures of Semantic Processing. Nature Neuroscience, 7, 302-307.[CrossRef] [PubMed]
[13] Koelsch, S., Kilches, S., Steinbeis, N., & Schelinski, S. (2008). Effects of Unexpected Chords and of Performer’s Expression on Brain Responses and Electrodermal Activity. PLoS ONE, 3, e2631.[CrossRef] [PubMed]
[14] Koelsch, S., Schroger, E., & Gunter, T. C. (2002). Music Matters: Preattentive Musicality of the Human Brain. Psychophysiology, 39, 38-48.
[15] Loui, P., Grent-'t-Jong, T., Torpey, D., & Woldorff, M. (2005). Effects of Attention on the Neural Processing of Harmonic Syntax in Western Music. Cognitive Brain Research, 25, 678-687.[CrossRef] [PubMed]
[16] Meyer, D. E., & Schvaneveldt, R. W. (1971). Facilitation in Recognizing Pairs of Words: Evidence of a Dependence between Retrieval Operations. Journal of Experimental Psychology, 90, 227-234.[CrossRef] [PubMed]
[17] Meyer, L. (1956). Emotion and Meaning in Music. Chicago: University of Chicago Press.
[18] Poulin-Charronnat, B., Bigand, E., & Koelsch, S. (2006). Processing of Musical Syntax Tonic versus Subdominant: An Event-Related Potential Study. Journal of Cognitive Neuroscience, 18, 1545-1554.[CrossRef] [PubMed]