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

isperses from music and permeates among the audience are here made clear. The paper explains the “multiplicity” and “uncertainty” in music comprehension as unxdyoidable, while the sameness is rather conditioned.

And finally, the paper also discusses questions like “content and form” (the expression and comprehension in music), “meaning” (the value and function of music) and “autonomy and heteronomy” (the form and construction principle in music). It stresses that the content of music is what the aesthetic subject (including creator and appreciator) contributes to and experiences in music and this can accurately defined as spirituality in music. The paper believes that the pure auditory form in music as the aesthetic beauty is the fundamental value of music, though not being its whole value. The active understanding in music appreciation will enrich and strengthen the subject in aesthetic and emotional experience and hence acquiring the multi-valued merits in music. As the form structure in music is conditioned by the rules of auditory beauty as well as by the perceptional representation of the objects it expressed, that is music can be both “autonomy” and “heteronomy”, the organic combination between theses two conditioned factors determines music creation.

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