Comparison Study On The Chinese And Western Music Aesthetics

Music Aesthetics is a basic and theoretical subject, which studies the basic rules of music, and especially regards the study of the particularity of music and aesthetics as its general goal. Belonging to liberal arts, music aesthetics is the same as other subjects in liberal arts, which changes in accordance with different times and social lives of different nationalities, including lives of cultural arts and music. That is why our study in this field is relative and temporary. So it is impossible for any thoughts and researches on music aesthetic of anyone at any time to be an everlasting truth, which has to be realized by infinite continued thoughts activities coordinating with times. Music aesthetics always comes with Music activities, though it was extremely simple and unclear. With the development of social history, music aesthetics has been developing in the unique forms and content of each era. Meanwhile, in each era, its ideas and achievements are always succeeded, developed, or abandoned willingly or unwillingly. Modern music aesthetics is the result of the abandon and development to the aesthetics in the past.In recent years, comparative science is a quite hot topic no matter in literary or in music. With outstanding nationality and characters of time, changeable and endless expression forms and organization methods, music is of close logics and rules, which made it important to apply comparative approaches into the studies of different and separate subjects of musicology. This paper conducts comparative studies on the identity and difference between Chinese and western music aesthetics, hoping to play a certain role in the construction of traditional Chinese contemporary music aesthetics system. The comparison of Chinese and western music aesthetics is of great meaning. Only with the comparison in the background of broad international horizon, can we understand different particularity precisely and concretely and discover the strong points and weak points, so to make efforts to establish the new aesthetics system more clearly. Only in this way, can we understand the precise meaning of the mixture of Chinese and western music so to express the true meaning of multi-music to the world. Because of the insufficient studies on Chinese and western music aesthetics in domestic, this paper is a systematic one on this issue, which is of certain innovation. The following is the content of different chapters:The first chapter is the introduction, which basing on a large quantity of domestic and abroad literature, sets forth the history and status of comparative aesthetics in the studies of Chinese music aesthetics completely and comprehensively, confirms the comparative methods to study Chinese and western music aesthetics as the study body, introduces the current situation of Chinese and western music aesthetics, the meaning and value of this study and the comparability of the study on it respectively, and puts forward the meaning of the project, the proof of the project selection and key research content.In the second chapter of this paper, a comparative research on Chinese and western traditional music aesthetics is made, mainly according to the clarification of some leading research issues about music aesthetics in He Qiansan's History of Western Music Aesthetics. The sameness, difference and reasons are also compared on the essence of music, the form and content of music, the aesthetic feelings of music (i.e. the structure of music aesthetic perception), the creation and performance of music. And these touched upon the melody of music, the structure of music, the language of music, the rhythm of music, the aesthetic perception of music, the comparison of music aesthetic orientation, and the psychological standard of appreciation of the beauty in music etc., which expounds special ideology of appreciation of the beauty, aesthetic theory and areas and ideas of beauty and so on. These issues of music aesthetics are coming into being in different historical, economic, social backgrounds in China and western countries, which influenced the appreciation of the beauty in music.In the third chapter, more words are used to discuss the comparison of Chinese and western pop music aesthetics in modern and contemporary ages, which is unprecedented in research of Chinese music aesthetics. Chinese and western traditional music aesthetics and pop music aesthetics are compared in two different comparative ways. For the reason, comparative researches on the definition of pop music, the development of Chinese pop music, the course of western pop music, the traits of Chinese and western pop music, the common points about Chinese and western music and the cultivation of appreciation of pop music are conducted.The forth chapter is the conclusion part: the developing music aesthetics by constant comparison and reference. This part concludes the main research result of the whole paper: from the very beginning of human beings, the differences in different cultures because of various reasons result in the differences in Chinese and western artistic appreciation. Hence, that's why the differences of Chinese and western music aesthetics exist and have its own reason in depth. Meanwhile, this thesis also blazes new trails, namely, making Chinese music aesthetics and western music aesthetics as research objects, overcoming bias of academic circles toward the ideas of Chinese music aesthetics, fill up the blank about the comparative study about Chinese and western music aesthetics itself.In the last part, a prospect of the system of Chinese music aesthetics is built up.In brief, the comparative methods was successfully applied to make research on the Chinese and western traditional music and pop music, making reasonable analysis and judgment about the differences of Chinese and western music aesthetics, setting forth her personal views in the way of objectively understanding the difference of it and proposing the main idea of the development of Chinese music aesthetics in modern times, that is, on the one hand, we should put forward our national culture, on the other hand, try to pay our attention to absorbing and using the western music to enrich traditional music of Chinese nation and to share this plentiful cultural resources with all the people in our world.