音乐与其表现的世界——对音乐音响与其表现对象之间关系的心理学与美学研究

in the “contents”, ”meaning”, and “autonomy and heteronomy” of music in the music aesthetics may not be further expounded.

This dissertation aims at a break-through in synesthesia, hxdying demonstrated the six rules in synesthesia, are relative to pitch, loudness, time, degree/time ratios, tension and unusualness.

The very reason why music can express non-audio concerns is the correspondance principle in synesthesia. The discovery of these rules makes it possible for us to understand the correlativity between music sound effect and its target phenomena, hence making sensible the device of intermedium and this understanding will eventually leads us to the concrete maneuver of music construction.

The correspondance principle in Synesthesia confine the extreme of music expression, that is the object must be sufficiently and stably relative to music in synesthesia, otherwise the objects can not be expressed. Meanwhile, there also exists a kind of music  bey

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