Re: [問題] 有關絕對音感

看板Musicteach (音樂教學討論)作者bisconect (隨便你叫)時間15年前 (2009/11/23 21:26)推噓5(5推 0噓 14→)

留言19則, 4人參與討論串4/5 (看更多)

其實英文維基百科裡已經把何謂絕對音感(absolute pitch)介紹得相當詳盡了，而且幾乎所有陳述都有明確附上根據來源(這是判別資料可信度的一個重要指標)，請見以下連結: http://en.wikipedia.org/wiki/Absolute_pitch 我挑其中幾個段落大略翻譯一下，如有誤還請指正: Absolute pitch (AP), or perfect pitch, is the ability to name or reproduce a tone without reference to an external standard.[1] 絕對音感，是指可以不參考外界標準就辨識或重現一個音的能力。 The naming/labeling of notes need not be verbal. AP can also be demonstrated by other codes such as auditory imagery or sensorimotor responses, for example, reproducing a tone on an instrument. Therefore a musician from an aural tradition, with no musical notation, can still exhibit AP if allowed to reproduce a sounded note. 為音符命名、分類不一定要靠口語。絕對音感也可以用別的代號來表現，像是靠腦中想像的聲音或是 sensorimoter responses (譯註:這是心理學術語，很抱歉我不確定其標準中文譯名，姑且稱之為 "感覺-動作反應" 吧?) ，例如用樂器重現出一個聽到的音。因此一個只靠聽覺學習而沒學過音樂記號的音樂家也可以表現出絕對音感，如果他可以重現出一個外界發出的音符。 Possessors of absolute pitch exhibit the ability in varying degrees. Generally, absolute pitch implies some or all of the following abilities when done without reference to an external standard: 。Identify by name individual pitches (e.g. A, B, C#) played on various instruments 。Name the key of a given piece of tonal music just by listening (without reference to an external tone) 。Identify and name all the tones of a given chord or other tonal mass 。Sing a given pitch without an external reference 。Name the pitches of common everyday noises such as car horns 有絕對音感的人表現出其能力的程度因人而異。大致來說，有絕對音感的人可以在沒有外音提示下表現出以下的部分或全部能力: 1.可以說出各種樂器演奏出來的音的音名(例如A,B,C#)，藉以辨識出那些音。 2.(在不靠外音提示的情況下)只靠聽就辨識出一段調性音樂的調性為何。 3.辨識出一個和絃的組成音(譯註:抱歉，這一項後半部我不太確定其意) 4.在沒有外界參考的情況下唱出某個特定的音符。 5.辨識出日常生活中的聲音如汽車喇叭聲。(譯註:如果該聲音恰好很接近十二種音當中的某一種的話滿有可能聽出來的，但我覺得該聲若是微分音或是很多音混在一起的聲音的話非常難聽出來吧。不過請注意，wiki上並沒有說有絕對音感的人一定能聽出"所有"日常聲音。像汽車喇叭這種只有單音的聲音還算是可辨識的，如果要求要辨認所有日常生活中可能出現的聲音我想連調音器也抓不準吧，因為大部分日常生活中的聲音根本不會是穩定頻率的單音啊! 多的是不規則頻率的一堆聲音混在一起的合聲吧!) Individuals may possess both absolute pitch and relative pitch ability in varying degrees. Both relative and absolute pitch work together in actual musical listening and practice, although individuals exhibit preferred strategies in using each skill. 不同人可以同時具有不等程度的絕對音感和相對音感。在實際的音樂聽辨和練習中絕對音感和相對音感是共同合作的，雖然不同人在使用不同技巧時可能會用自己比較偏好的那種策略。 Absolute pitch sense appears to be influenced by cultural exposure to music, especially in the familiarization of the equal-tempered C-major scale. Most of the absolute listeners that were tested in this respect identified the C-major tones more reliably and, except for B, more quickly than the five "black key" tones,[12] which corresponds to the higher prevalence of these tones in ordinary musical experience. One study of Dutch non-musicians also demonstrated a bias toward using C-major tones in ordinary speech, especially on syllables related to emphasis. 絕對音感似乎會受一個人在他的文化中較常接觸到的音樂有關，尤其是關於熟悉C大調音階這個現象。大部分有絕對音感的人在這方面的測試中，比起五個"黑鍵"音，能夠更快速且可靠地辨認出C大調音階上的音(除了B以外)，反映出一般音樂經驗中這些音是出現得較普遍的。 (譯註:我從未聽說過有任何台灣人覺得辨識B比其他"白鍵音"來的困難，也許這個現象跟外國通行的唱名有關? 有熟悉外國唱名的板友想到任何可能的理由嗎?) 一個以荷蘭籍非音樂家為對象的研究也顯示出人們在一般演說中偏好使用C大調音階上的音，尤其是在跟重點有關的音節時。 Many people have believed that musical ability itself is an inborn talent.[39] Some scientists currently believe absolute pitch may have an underlying genetic basis and are trying to locate genetic correlates[40]; while evidence suggesting a genetic locus has recently arisen[41], most believe that the acquisition of absolute pitch requires early training during a critical period of development, regardless of whether or not a genetic predisposition toward development exists.[42] The "unlearning theory," first proposed by Abraham,[43] has recently been revived by developmental psychologists who argue that every person possesses absolute pitch (as a mode of perceptual processing) as an infant, but that a shift in cognitive processing styles (from local, absolute processing to global, relational processing) causes most people to unlearn it; or, at least, causes children with musical training to discard absolute pitch as they learn to identify musical intervals.[44] Additionally, any nascent absolute pitch may be lost simply by the lack of reinforcement or lack of clear advantages in most activities in which the developing child is involved. An unequivocal resolution to the ongoing debate would require controlled experiments that are both impractical and unethical. 許多人相信絕對音感是天生的才能。有些科學家現在相信絕對音感也許有潛在的基因基礎並試圖找出那些基因;不過儘管最近出現了可能支持基因論的證據，大部分人還是相信絕對音感需要在某些發展的關鍵期施以早期訓練，不管有沒有這方面的基因。 (譯註:以下牽涉到若干心理學術語，我不確定其標準中文譯名，只好姑且照字面直譯，若有誤請指正，謝謝)由 Abraham 首次提出的"放棄學習理論"最近被某些發展心理學家重新提出，他們認為所有人在嬰兒時期都具有絕對音感，但是認知處理模式的提升(從局部性的、絕對性的認知模式，提升至全面性的、相對性的認知模式)使得大部分人丟棄了這種能力 ;或是至少使得接受音樂訓練的孩子在學習辨認音程時拋棄了絕對音感。再加上，任何天生的絕對音感都可能因為單純缺乏強化或是對成長中的孩子從事的大部分活動沒有明顯幫助而被丟棄。要清楚解決這個持續中的爭論，必須要進行一場不可能實行且不道德的控制實驗。 Researchers have been trying to teach absolute pitch ability for more than a century,[45] and various commercial absolute-pitch training courses have been offered to the public since the early 1900s.[46] Although it has been shown possible to learn to identify pitches, keys, and everyday sounds later in life, no training method for adults has yet been shown to produce abilities comparable to naturally occurring absolute pitch.[47][48] 超過一世紀以來研究者們一直試圖教出絕對音感，各式各樣的商業化訓練課程也從1900年代就開始出現了。雖然透過後天教育培養出能夠辨識音符、調性、還有日常生活中的聲音的能力已被證實為可行的，但還沒有任何針對成年人的教法可以訓練出比得上天生絕對音感的能力。 For children aged 2–4, observations have suggested a certain method of music education[49] may be successful in training absolute pitch,[50] but the same method has also been shown to fail with students 5 years and older.[51] 觀察指出某些音樂教育方法對於兩歲到四歲間的孩童可能可以成功訓練出絕對音感，但是同樣的方法對於超過五歲的小孩卻無效。 Persons who have born absolute pitch may feel irritated when a piece is transposed to a different key or played at a nonstandard pitch.[52] Musicians with absolute pitch may fail to develop relative pitch skills when following standard curricula, conceptualizing music as a sequence of absolute tones instead; it thus becomes difficult for them to transpose or play a transposing instrument.[53] They may also not be able to continue playing or singing with a group when the pitch drops, or with an orchestra that is not tuned to standard concert pitch A4 = 440 hertz (variable); this may be due to a perception of pitch which is categorical rather than freely adjustable. 有絕對音感者在一段音樂被移到不同調性或是以非標準的音演奏時可能會覺得不適。有絕對音感的音樂家接受標準課程時可能會無法建立相對音感，而是把音樂聽成一序列的絕對音高;因此對他們來說移調演出或是演奏移調樂器較困難。他們也可能無法持續在降音的情況下跟團體合奏或歌唱，或是跟一個沒有調成標準音的管弦樂團合奏。這可能是因為他們是用絕對的、不可動的方式來辨識音高，而非用可調整式的辨識方式。 ( 譯註: 我就有過這種困擾啊!有位爵士鋼琴老師要我移到12調演奏時要使用首調唱名法，可是對我來說G聽起來就是So的發音，D就是Re的發音，硬要我把它們聽成別的發音我實在做不到啊!就算我很清楚知道那些音在各調中的級數為何我也沒辦法把它們聽成首調唱名。為了避開根深蒂固烙在腦海的固定調唱名與首調唱名之間的衝突，我只好不唱首調唱名，改唱級數。結果被老師發現後他就要求我不能這樣做，一定要唱首調唱名。他說:"不然以後你音感不好不要怪我喔"，所以我就浪費很多時間在跟自己的絕對音感對抗...... 後來我發現也有爵士鋼琴老師和我一樣會很直覺聽成固定調唱名，所以她也沒辦法用首調唱名法，但是爵士鋼琴還是彈得很好，移調也不成問題，我才鬆了一口氣不再強迫自己使用違背我聽覺的首調唱名法，而是熟悉同一個音在各調中的級數各別為何就好了。果然就運作得沒什麼問題。所以說...絕對音感有什麼好的?頂多就是抓歌時定調比較快吧。現實中很多音樂很強的人都沒有絕對音感，也有很多有絕對音感的人作曲編曲能力並不強。音樂高手間的共同點是相對音感都很好吧，絕對音感並非重點! 清楚絕對音感是什麼意思的人怎麼可能會覺得絕對音感是件值得得意的事，或是想要假裝自己有絕對音感呢? 誤以為絕對音感很了不起的人才會這樣想吧。至於為什麼原本意思很單純且沒有特別褒義的絕對音感會被逐漸誤解成如今這種太傳奇的說法我也不曉得，搞得連有絕對音感的人都因為覺得說自己有絕對音感恐有臭屁之虞而說自己沒有，然後做個測驗以後才發現自己有? 根據這個頁面上的資料顯示，雖然歐洲有絕對音感者很少，但在亞洲有絕對音感的人比例還滿高的，研究者猜測可能跟亞洲的語言注重聲調變化有關。這一段我累了所以沒完全翻譯出來，但是頁面上有寫喔~有興趣的板友可以去讀一下。所以身處台灣的各位知道自己有"傳說中的"絕對音感也不用驚訝啦，哈哈。 ) The prevalence of absolute pitch is considerably higher among individuals with early childhood in East Asia.[33][34][35][36] This difference has been suggested to be racial in origin.[37] A study has claimed that individuals of East Asian heritage reared in the United States or Canada have "no significant difference" in prevalence of absolute pitch than do Caucasians of the same geographical origin,[36] asserting that the difference in prevalence is more likely to be explained by linguistic experience than genetic heritage. Many East Asians speak tone languages such as Mandarin and Cantonese, while others (such as those in Japan and certain provinces of Korea) speak pitch accent languages; the prevalence of absolute pitch may be explained by exposure to pitches together with meaningful labels very early in life. 在東亞度過早期童年的人明顯有較高的比例擁有絕對音感。這樣的差異剛開始被猜測為跟種族有關。但有研究顯示在美國或加拿大被撫養長大的東亞後裔並沒有明顯比住在同地區的白人有更高的比例擁有絕對音感，顯示這份絕對音感普及率的差異比較可能是由於語言經驗所致，而不是由基因所致。許多東亞人使用音調語言(tone language)例如中文和廣東話，而其他人(如日本和韓國的某些區域)使用音高重音語言;絕對音感的普及率可能與在人生中非常早期就接觸具有特殊意義的各種音調有關。 (譯註:別的國家的情形我不曉得，可是我之前一直猜想台灣人的絕對音感那麼普遍是因為台灣的孩童音樂教育絕大部分都使用固定調唱名法欸......? 有哪位板友從小學鋼琴時就是使用首調唱名法嗎?) Absolute pitch is not a prerequisite for developing a high level of talent as a musician or composer, and musicians may disagree about the overall value and relevance of absolute pitch ability to musical experience. Owing to uncertainty in the historical record, and, until recently, lack of objective tests, it is often impossible to determine whether notable composers and musicians had absolute pitch or not. Since absolute pitch is rare in European musical culture,[35] claims that any particular musician possessed it are to be doubted, unless there is clear contemporary evidence. 絕對音感並非建立高級音樂或作曲能力的必要條件，且整體來講音樂家們不認為絕對音感對於音樂經驗是關鍵的。基於歷史紀錄的不確定性且至今仍缺乏客觀檢驗方法，要決定(歷史上)著名的作曲家和音樂家們有無絕對音感通常是不可能的。因為歐洲音樂文化中罕有絕對音感者，聲稱(歷史上)任何特定的音樂家擁有絕對音感通常會被懷疑，除非有明顯的當代證據。 Absolute pitch may influence the ability to transpose while sight-reading, as a musician with absolute pitch may focus greater attention on the exact notes presented in a musical score rather than the structural characteristics represented by the notation. 絕對音感會影響視奏時的移調能力，因為絕對音感者會較專注於譜上精確的音符而非譜上呈現出來的結構性特色。 (譯註:我相信很多板友應該也像我一樣很難看著E調的五線譜唱出F調的音，或是唱著唱著會不小心唱成譜上寫的絕對音吧?) Many musicians have quite good relative pitch, a skill which can be learned. With practice, it is possible to listen to a single known pitch once (from a pitch pipe or a tuning fork) and then have stable, reliable pitch identification by comparing the notes heard to the stored memory of the tonic pitch.[60] Unlike absolute pitch, this skill is dependent on a recently perceived tonal center. 許多音樂家都有相當好的相對音感，而相對音感是可以習得的能力。透過練習，可以只聽一個已知的音一次(來自調音笛或音叉)然後就可透過比較聽到的音跟記憶中的主音而擁有穩定而可靠的辨音能力。不像絕對音感，這種技巧隨最近接受到的調性中心而變。 (譯註:意思就是說，他可以聽出音跟音之間的關係，但是不確定那些音的絕對音高為何。不過只要你給他聽一個已知絕對音高的音來做比較，他就可以判斷了) ===============================(翻譯結束)===================================== 我想以上這些大部分陳述都有列出根據來源(在我給的wiki連結裡)的資料應該已經把何謂絕對音感解釋得相當清楚了，也某種程度上澄清了 "黑鍵音聽不太準還算絕對音感嗎(大部分絕對音感者確實是聽白鍵聽得比較快且準)" 、 "絕對音感很稀有嗎(在歐美地區還滿稀有的，但在東亞頗常見)" 、 "絕對音感可以由後天訓練嗎(兒童通常可以，但成年人似乎很難)" 、 "有絕對音感的人在音樂上比較厲害嗎(沒這回事，比較重要的能力是相對音感。絕對音感可有可無，有時甚至可能造成移調等方面的障礙)" 等等常見的疑惑。如果對這些說法有疑慮者，可以點去我給的wiki連結找一下其敘述的根據來源，看看那個來源是否足以說服你。或是檢查一下我的翻譯有沒有翻錯。謝謝你看完這篇好長的文章，如果有意見的話歡迎討論! -- ※ 發信站: 批踢踢實業坊(ptt.cc) ◆ From: 140.114.66.105

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