理查德·科因/Richard Coyne徐知蘭 譯/Translated by XU Zhilan

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建筑、情緒與音樂

理查德·科因/Richard Coyne
徐知蘭 譯/Translated by XU Zhilan

摘要：筆者利用心理學理論來論證音樂比建筑更能主導情感或心緒。論文從人們表達威脅或喜悅的那種對聲音的迅速反應出發(fā)，將論述擴展至音樂如何影響人的期待。然而，本文也許只能揭示音樂與建筑的一部分與情感相關的潛能。馬丁·海德格爾現(xiàn)象顯示出這種體驗層級的逆轉(zhuǎn)。情感體驗始于對世界的期待。建筑擅長創(chuàng)造一種期待的環(huán)境、一種氛圍，也就是一種情緒，以及操作一段音樂上的不同時間維度。筆者以這種挑釁的觀點結(jié)尾，為了使建筑喚醒密集的情感體驗，而這又需要回到如何聆聽一段音樂。

Abstract:I draw on psychological theory to suggest that music makes greater claims on the emotions than architecture. The story begins with people's immediate responses to sounds as indications of threats and pleasures, and progresses to the role of musical sounds in in fl uencing our expectations. I suggest that this narrative only accounts in part for the emotional potency of music and architecture. The phenomenology of Martin Heidegger would suggest a reversal of this experiential hierarchy. Emotional experience starts with expectations about the world. Architecture is good at creating a climate of expectations, an atmosphere, i.e. a mood, and operates over di ff erent time scales to a piece of music. I end with the provocative thought that in order for architecture to invoke intense emotional experiences it would need to replicate what it's like to listen to a piece of music.

關鍵詞：建筑，情感，情緒，音樂

Keywords:architecture, emotion, mood, music

Architecture, Mood and Music

對我們大部分人來說，物理空間充滿意義與情感——一些空間比另一些更為強烈。然而，我們步入一座建筑或面對宏偉景色時所體驗到的情感，很少可與聽到一首樂曲時所引起的情感的強烈程度相比擬，若音樂能應時、應景，或為本人所喜愛，就更是如此。

不過，兩者（音樂與場所）的結(jié)合卻可以帶來震懾人心的效果。天主教堂的合唱音樂，甚至是用公共廣播播放的安靜輕柔的音樂，都能在情感上令參觀者或祈禱者折服。契合環(huán)境的曲調(diào)或節(jié)拍，只要配上幾個適當?shù)暮拖?，音樂曲目就能放大、增強或消除來自城市環(huán)境的氣氛。這就是許多電影需要配樂的原因。而且如果有了個人播放器，我們也可以隨身攜帶自己的音樂和情緒調(diào)節(jié)器。也許，這也是我們有時更喜歡保持沉默、或?qū)碜灾苓叚h(huán)境的聲音不予理睬的原因。音樂對我們的情感常常具有過于強大的主導能力。

為什么音樂能夠做到這些，而空間卻很少能獨立產(chǎn)生這樣的作用呢？心理學家帕特里克·尤斯林和丹尼爾·法斯特加爾為理解音樂的情感效用提出了一個可能有說服力的理論框架，至少從進化心理學的觀點來看是如此，其論述引用了500多篇論文[1]。其中并未提到建筑學，但我將在其論文的基礎上提煉出音樂的情感效用高于建筑的結(jié)論。

1　音樂的作用機制

尤斯林和法斯特加爾總結(jié)了有關音樂與情感的文獻，并將其歸納入一個共分6個層次的理論框架，從最原始的神經(jīng)反射作用開始，到更微妙和多樣的文化層面。

1.1首先最基本的，是聲音與情感之間的神經(jīng)聯(lián)系，包括人類在內(nèi)的大多數(shù)動物都有這種特征。情感會讓我們對重要的事物產(chǎn)生警覺——包括威脅、安全，以及其他導致恐懼或愉悅的因素。突如其來的噪音、巨大的響聲、不和諧音、快速的節(jié)奏、尖銳的高音、低頻的振動以及這些模式的各種變化，會自動提示我們一件事物是否重要、危險、龐大，是否已經(jīng)產(chǎn)生或?qū)⒁a(chǎn)生威脅，并且作為一種反射作用它將“促進激活中樞神經(jīng)系統(tǒng)”[1]564。這是原始且類似動物的大腦指揮身體反應行為。但這和音樂有什么關系呢？似乎音樂也建立在這些“戰(zhàn)斗或逃離”的聲響暗示和作用機制基礎之上，通過更深層次的體驗與認知被控制、夸大、緩和或加強。

可能空間體驗也涉及與之類似的基本原始反射作用——譬如從高處俯視、靠近尖銳物體、突如其來的移動，以及威脅的姿勢等，但那時你早已身陷危處，其他的反應就開始發(fā)揮作用。伴隨著聲音產(chǎn)生的強烈情緒會表現(xiàn)為準備和警告。想象連續(xù)的火災警就能引發(fā)警覺情緒，即使在視線范圍內(nèi)沒有可見的危險時也依然如此。與之類似的聲音主導空間的更顯而易見的例子是，舒適、溫馨、質(zhì)樸的聲音可以給平凡的空間體驗增色。

1.2尤斯林和法斯特加爾提出，在這些聲音與情緒之間的原始反射作用之上還有一種“條件”反射。這是通過“一種情緒由一首樂曲觸發(fā)，僅僅因為這種刺激已經(jīng)與其他的正面或負面刺激因素一再重復匹配的緣故”而形成的過程。冰激凌的口味與質(zhì)感可能讓人想起童年時期在安樂的家中與家長共進晚餐時的場景。同樣，卡朋特樂隊的“靠近你”、或其他與之相似的歌曲和類似的韻律，都能夠讓人們在第一次聆聽時引起同樣的感受。

空間體驗可能也與之有某種相似性——例如回到你青年時期的家中，在一座復古的博物館里見到熟悉的舊商標，或翻閱所有那些數(shù)碼相冊時的場景。然而音樂可以無處不在的屬性意味著其條件反射和產(chǎn)生追憶的過程可以隨身攜帶且便于獲得。在這一點上，音樂優(yōu)于視覺刺激，并具有主導地位。

1.3刺激效應通常有共鳴作用。音樂聲響在某些方面類似人類語音。我們傾向于情緒化地回應充滿憤怒的人聲：“如果人類的語音在速度很快、聲音響亮而尖銳時會被理解為‘憤怒’，那么樂器聲由于甚至可能更快、更響、更尖銳的特征也可能聽起來極其‘憤怒’”[1]566。尤斯林和法斯特加爾形容音樂是“特別有效的情緒感染來源”。

他們把這種情緒感染與我們對視覺刺激的共鳴相聯(lián)系，例如我們看見別人跳舞時自己也想用腳打節(jié)拍的鏡像神經(jīng)元反應[2]。有理由相信，空間體驗大致上也涉及這類反應過程。但由于我們對人聲具有天然親近感，因此在傾聽卡爾·奧爾夫的《布蘭詩歌》開場合唱時所感受到的情緒之強烈，與人們在欣賞普桑的油畫、山川景色或在暴風雨中沖到卡拉卡拉浴場感受到的情緒不可同日而語——而無論后者如何莊嚴崇高都同樣如此。

1.4尤斯林和法斯特加爾也描述了音樂產(chǎn)生視覺形象的過程。因此，歸功于各種不同的聯(lián)想，人們才能在欣賞貝多芬的《田園交響曲》時，在腦海中浮現(xiàn)出陽光下令人愜意的草場景象。音樂在這里服從于空間體驗。

然而尤斯林和法斯特加爾并未提到其反向過

Physical spaces are charged with meaning and emotion for most of us-some spaces more than others. But it's rare to enter a building or encounter spectacular scenery and experience the same intensity of emotion many of us feel on hearing a piece of music, particularly music that fi ts the mood of the moment, or the occasion, or is tuned to our predilections.

But putting the two together （music and place）can be electric. Choral music, or even soft music playing quietly over the public address system in a cathedral can overwhelm the visitor or worshipper, emotionally. The right ambient hum or beat or, just a few of the right chords as a music track can amplify, intensify or counteract the mood of the city. That's why fi lms have music, and with personal stereos we can carry our soundtrack and emotional switches around with us. Perhaps that's why some of the time we prefer silence, or to let the sounds of the environment do their work. Sometimes music is too powerful in driving our emotions.

Why does music achieve what space on its own can do only rarely？ Psychologists Patrik Juslin and Daniel V?stTh?ll o ff er a plausible framework for understanding the emotional potency of music, at least from the point of view of evolutionary psychology, with reference to over 500 articles[1]. They don't mention architecture, but I'll draw on their paper to a ffi rm the emotional potency of music over architecture.

1　Musical mechanisms

Juslin and V?stfj?ll summarise the literature on music and emotions and stack it into a six-tiered framework, starting from primitive neurological re fl exes to the more culturally nuanced and varied.

1.1 At base is a neurological connection between sounds and emotions in most animals, including humans. Emotions are what alert us to something really important-threats, safety and other causes of fear and pleasure. Sudden noises, loud sounds, dissonance, quick rhythms, high pitched sounds, deep rumbles, and changes in any of these patterns provide automatic cues that something important, dangerous, large, or threatening is happening or about to, and produces "increased activation of the central nervous system"[1] 564as a kind of re fl ex. This is primitive and animal-like brain-body behaviour. What has this to do with music？ It seems that music is built on these fi ght or fl ight sonic cues and mechanisms, controlled, exaggerated, moderated and reinforced by further layers of experience and perception.

Presumably spatial experience implicates similar basic, raw reflexes-looking down from a height, approaching sharp objects, sudden movements, and threatening gestures, but by then you are already in the danger zone and other responses kick in. The emotional intensity accompanying sound acts as preparation and warning. Think of the arousal induced by a persistent fire alarm, even when there's no visible danger. A similar dominance of sound over space may be evident in the case of comforting, soothing, and unobtrusive sounds that colour homely spatial experiences.

1.2 Juslin and V?stfj?ll refer to a kind of "conditioning" placed over these primitive reflex reactions and emotions involving sound. This is a process whereby "an emotion is induced by a piece of music simply because this stimulus has been paired repeatedly with other positive or negative stimuli"[1]564. The taste and texture of ice cream may remind the adult diner of childhood hours in the security of a happy home. In the same way, Close to You by The Carpenters, and other songs a bit like it, or its familiar cadences, evoke feelings similar to when the music was fi rst heard.

Spatial experience might achieve something similar-returning to the home of your youth, seeing familiar old brands in a nostalgia museum, fl icking through all those digital photo albums-but the anywhere-anytime aspect of music implies a kind of portability and availability of this conditioning and recollection process that overwhelms and dominates visual stimulation.

1.3 Stimulus effects often start to operate in sympathy within one another. Music sounds a bit like speech in some respects. We are tuned to respond emotionally to an angry voice: "if human speech is perceived as 'angry' when it has fast rate, loud intensity, and harsh timbre, a musical instrument might sound extremely 'angry' by virtue of its even higher speed, louder intensity, and harsher timbre"[1]566. Juslin and V?stfj?ll describe music as a "particularly potent sources of emotional contagion."

They describe this emotional contagion in relation to the sympathetic response we have to visual stimulus, such as feeling like tapping our feet when we see someone dancing, i.e. the mirror neuron response[2]. Presumably spatial experience in general involves such processes. But because of our affinity with the human voice, listening to the opening chorus of Carl Or ff's Carmina Burana gets some people going with an intensity of emotion that a painting by Poussin, a mountain scene or a dash through the Baths of Caracalla in a rainstorm can't quite match-however sublime.

1.4 Juslin and V?stTh?ll also describe how music has been known to generate visual imagery. So, thanks to various associations, someone listening to Beethoven's Pastoral Symphony is able to conjure up images of pleasant meadows in the sunlight. Here music is subservient to spatial experience.

But Juslin and V?stfj?ll don't speak of the converse-imagining or humming a particular （emotional） piece of music while walking in the countryside or sitting on the beach. They do however refer to research that proposes musical emotion is a particular category of emotion. Music that makes us happy does not come with the trappings or "beliefs" of everyday events that make us happy, such as passing an exam, being among people who care about us, or enjoying sunlight. Perhaps it's this detached, musical emotion devoid of association with actual life events that we seek rather than emotions embedded in everyday life.

1.5 They also associate music with episodic memory. A tune, a chord, or a cadence prompts recollection of particular events: an embarrassing school musical, a happy romance, a picnic on the beach.程——即在鄉(xiāng)間散步或閑坐于沙灘上時，是否能想象或哼唱某首（特定情緒）的音樂。但他們確實提到，有相關研究提出音樂情緒屬于情緒的某種類型。令人愉悅的音樂并不必需對令人愉快的日常事件的外在表征或“信念”相伴，如通過考試、與關心我們的人在一起或沐浴陽光等。也許相比于來自日常生活的種種情緒，正是這種超然的音樂情感——不需要依賴真實的生活事件——才更令人向往。

1.5他們也將音樂與片斷記憶相聯(lián)系。一首曲子、一個和聲或某種曲式激發(fā)了對特定事件的回憶——也許是令人尷尬的學校音樂，也許是美妙的浪漫故事，或是一次沙灘上的野餐。

它與空間記憶術(shù)、或由空間體驗而觸發(fā)的回憶有共同之處。顯然，在成年人的記憶中最活躍的是產(chǎn)生于15～25歲之間的記憶——即“記憶隆起”[1]567時期。因此，成年人會在之后的生活中對他們在此期間接觸到的流行音樂有更強烈的情緒反應。由此可以推斷，空間的體驗和有形的紀念物也提供了類似的情感記憶，卻缺乏音樂可以無處不在和反復接觸的性質(zhì)，因此也沒有那么多機會深深植入和豐富我們的情感庫。

1.6音樂充滿許多人們熟悉的形式與風格，會讓我們產(chǎn)生期待。如果音高E緊跟在C后面出現(xiàn)，那么我們就會期待下一個出現(xiàn)的音高是G，這樣就能形成一個三和弦。而吉他的G7和弦則應以C和弦為解決和弦。符合這些規(guī)律還是違背它們，將激起人們的滿足感或沮喪感。我感到類似的規(guī)律也存在于空間體驗和空間的語匯中。期待在本質(zhì)上主導了認知。

音樂的情感與由空間或建筑環(huán)境引起的情感有些許不同之處。音樂引起的情感反應在瞬間的轉(zhuǎn)換中可以被激發(fā)或消除。音樂性的情感是立刻反應的。而與空間和場所相關聯(lián)的情感則長期存在，且在某種程度上更微弱，并時刻準備被音樂加強或抵消。因此如果說建筑空間改變的是情緒[3]而不是情感會更準確。

尤斯林和法斯特加爾的研究成果似乎加強了一種觀念，即認為音樂在激發(fā)情感上超越了其他藝術(shù)。也許無論建筑對情感如何驅(qū)使，都難以擺脫音樂的暗示?；蛟S，建筑師只是通過營造更崇高莊嚴、精美絕倫、氣勢磅礴或溫馨樸素的建筑來呼應音樂所取得的效果。但還有一個關于建筑與音樂的解釋：建筑設定氣氛，然后音樂才可以影響我們的情感。想想看安靜地迎接唱詩班的第一句贊美詩或尖塔上第一聲鐘鳴的大教堂吧。

1 西班牙圣地亞哥-德孔波斯特拉的彌撒曲/Mass in Santiago de Compostela, Spain

2 希臘邁泰奧拉修道院/Great Meteoron Monastery, Meteora, Greece（1.2攝影/Photos: 理查德·科因/Richard Coyne）

2　體驗為先

尤斯林和法斯特加爾有關音樂情感的本體論固然提出了一套從最原始到具有更復雜文化意義的序列，也提出了我們對所處環(huán)境中的刺激進行反應的觀點。重要的是，馬丁·海德格爾和許多現(xiàn)象學理論家認為，期待不可抗拒地主導認知[4]，這一觀點將推翻這一系列優(yōu)先次序。因此，在現(xiàn)象學的觀點看來，“應激反應”模式作為這種解釋理論的出發(fā)點，其實是人們對于在環(huán)境中體驗聲響的過程賦予了特定的結(jié)構(gòu)，并由此總結(jié)出一些實用的實驗規(guī)律和數(shù)學規(guī)律。

在此過程中，應激反應無疑解除了整個語境的特權(quán)，我們的空間體驗正是建立在其中的特定結(jié)構(gòu)，這一語境包括各種記憶、化身、所有感受、情緒及文化背景等。

我也傾向于從解構(gòu)主義閱讀——如雅克·德里達倡導的——角度對這些情感理論做些分析[5, 6]。我不禁認為，情感源自我們內(nèi)在生命與環(huán)境之間的密切聯(lián)系，而電影、戲劇或音樂所提供的情感僅僅是對真實情感體驗的再現(xiàn)或模仿。寺田麗在比較文學領域撰寫過一篇頗具啟發(fā)意義的文章，提出了相反的觀點：“情感有賴于想象”和“想象有賴于戲劇性”[5]206。舉一個過度闡釋的例子——為能真正感受到他人的痛苦，我們必須將受苦者視為一本書中的人物來看待。就建筑與音樂的而言，我們也可以說，為了對山頂上的修道院或尼泊爾的博德納大佛塔之類的建筑中感受情緒，我們必須復制傾聽一段音樂的狀態(tài)——也許是菲利普·格拉斯的《機械生活》（1988年），或是采用這首配樂的同名電影（高佛雷·雷吉奧導演）。在情感領域里，藝術(shù)引領生活。

我在《場所中的調(diào)諧》[7]和《情緒與可移動生活》[8]中對這些主題和其他主題進行了分析。后者探討了移動設備、智能手機和社交媒體如何影響我們的情緒。我們對建筑的體驗也正越來越多地受到隨身攜帶的通訊設備影響，一定程度上是因為它們賦予了我們接觸聲音與音樂的機會?！?/p>

There's a correspondence here with spatial mnemonics, or the memories conjured up by spatial experience. Apparently recollections in adulthood are most vivid for the period between age 15～25-the "reminiscence bump"[1]567-hence the stronger emotional response of adults later in life to the pop music they were exposed to during that period. Presumably spatial experience and physical memorabilia provide similar emotional recollections, but without the ubiquity of music and repeated exposure, and its opportunities to bed down and contribute to our emotional reservoirs.

1.6 Music is redolent with familiar forms and patterns that lead us to expect certain things to happen. If the note C is followed by E then we expect the next note in the sequence to be G to make a triad. The G7 guitar chord ought to resolve to the C chord. The satisfaction or denial of these rules provokes a sense of satisfaction or frustration. I have a feeling there's something similar about spatial experience, and spatial languages. Perception is driven substantially by expectations.

There are some differences between musical emotions and emotions induced while in a spatial or architectural setting. Emotional responses to music can be switched on and off at the flick of a switch. Musical emotions are immediate. Emotions associated with spaces and places are longer term, and in a sense weaker, ready to be reinforced or counteracted by music. It's more accurate to ascribe architectural spaces to moods[3]rather than emotions.

The studies to which Juslin and V?stfj?ll refer seem to reinforce the emotional superiority of music among the arts. Perhaps after all, any claim architecture may have on the emotions is just a shadow of what music has to offer. Perhaps in creating sublime, beautiful, dramatic or homely spaces, architects are simply trying at best to echo what music achieves. But there's an alternative account of the architecture-music relationship: architecture sets the mood so that music can do its work on our emotions. Think of the cathedral in a state of repose awaiting the fi rst strains of a choral anthem or the chime of the steeple bells.

2　Putting experience fi rst

Of course Juslin and V?stfj?ll's ontology of musical emotions suggests a progression from the primitive to the more culturally sophisticated, and from the idea that we respond to stimuli in our environment. Importantly, for Martin Heidegger[4]and the phenomenologists, perception is driven overwhelmingly by expectation, which would reverse this series of priorities. So from a phenomenological viewpoint the stimulus-response model with which this account begins is a particular construction that people place on the experience of sound in the environment, leading to the identi fi cation of particular experimental and mathematical regularities.

In the process such stimulus-response accounts arguably de-privilege the whole context in which our spatial experience is constructed, including memories, embodiment, the full range of the senses, moods, and the cultural contexts within which we experience space.

I'm also inclined towards the contribution to theories of emotion from a deconstructive reading, for example, as advanced by the philosopher Jacques Derrida[5,6]. It's tempting to think of emotions as emerging from an intimate compact between our inner lives and the environment, and that emotions as purveyed in film, theatre or music are merely secondary copies or simulations of authentic emotional experience. An illuminating article by Rei Terada from the field of comparative literature, proposes the opposite: "Emotion depends on imagination" and "imagination depends on theatricality"[5]206. As an overstated example: in order to really feel pity for someone else's pain we need to see the sufferer as if a character in a book. In the case of architecture and music we could say, that in order to feel emotionally about a work of architecture such as a monastery perched on amountaintop, or the Boudhanath Stupa in Nepal, we need to replicate what it's like to listen to a piece of music: perhaps Philip Glass' Powaqqatsi （1988）, or watch the fi lm in which it's represented （by Godfrey Reggio）. In the realm of the emotions, life takes its lead from art.

I examine these and other themes in the books The Tuning of Place[7]and Mood and Mobility[8]. In the latter I explore how mobile devices, smartphones and social media also influence our moods. Our experience of architecture is increasingly mediated by the communications devices we carry about with us, in part because of the access they give us to sound and music.□

參考文獻/References:

[1] Juslin, Patrik N., and Daniel V?stfj?ll. Emotional Responses to Music: The Need to Consider Underlying Mechanisms. Behavioural and Brain Sciences, 2008, （31）559-621.

[2] Molnar-Szakacs, Istvan, and Katie Overy. Music and Mirror Neurons: From Motion to 'e'motion. SCAN, 2006, （1）235-241.

[3] Wigley, Mark. The Architecture of Atmosphere. Daidalos, 1998, （68）18-27.

[4] Heidegger, Martin. Being and Time. John Macquarrie, and Edward, Robinson, trans.. London: SCM Press, 1962.

[5] Terada, Rei. Imaginary Seductions: Derrida and Emotion Theory. Comparative Literature, 1999, （51） 3, 193-216.

[6] Coyne, Richard. Derrida for Architects. Abingdon: Routledge, 2011.

[7] Coyne, Richard. The Tuning of Place: Sociable Spaces and Pervasive Digital Media. Cambridge, MA: MIT Press, 2010.

[8] Coyne, Richard. Mood and Mobility: Navigating the Emotional Spaces of Digital Social Networks. Cambridge, MA: MIT Press, 2016.

收稿日期：2015-12-21

作者單位：愛丁堡大學