| Music aesthetics is a branch of ordinary aesthetics, which takes theexploration of the content and form of music and etc. as its questions for study.Artists have tried to solve problems of music aesthetics in the philosophicalway for so long. Austrian musician and critic, Eduard Hanslick, published his book, Onthe Beauty of Music, in 1854,emphasizing on the particularity of music whiledoing research of music aesthetics. Hanslick thought that the research objectof the exploration of aesthetics should be the beautiful substance instead of thesubject who's appreciating it. German musician Felix Gatze grouped the German music aesthetics sincelate 18th century into two opposite sects, Heteronomie-aesthetic andAutonomie-aesthetic in his Main Sects of Music Aesthetics published in1929.The former thought that the rules and regulations restricted music cameoutside of music, while the latter took the completely opposite opinion that therestrictions came from right inside music and were just in music itself. Autonomie-aesthetic represented by Eduard Hanslick in later 19th centurydrove philosophical source from Immanuel Kant's aesthetics. He thought itwas just the form of the object that could adapt to the imagination andcomprehension of people and make the two exercise unrestrainedly andmanage to cooperate harmoniously for each other. And the aesthetic perceptionwas just the spiritual joy while the imagination and comprehension of thesubject went well with the form of the object. German philosopher Georg Wilhelm Friedrich Hegel's musicalconception had a deep effect on Heteronomie-aesthetic of romanticism. His - 43 -Aesthetics published in 1817 provided Heteronomie-aesthetic of romanticismwith a basis of philosophical aesthetics. He took an emphasis on theexpression of emotion for the content of music and his ideas of the relationshipbetween the emotional content and the form of music affected many musiciansat that time. Music Aesthetics kept on the discussion of the content and form of musicas well as Heteronomie-Aesthetic and Autonomie-aesthetic beginning with Onthe Beauty of Music of Hanslick. Many people tried to explain the phenomenaand to answer questions in musical aesthetic activities with their own aesthetictheories. But they all had their own defects, namely, Hanslick separated musicfrom people completely, Dufrennne didn't get out of the form-content monismof Hanslick though enlightened by Gestalt Psychology, Susanne K.Langer fellinto her own theoretical conflict although she tried to reconcile thecontradiction between Autonomie and Heteronomie. Considering the special character of music, for example, it has estrangedrelationship with abstract and rational ideas as well as specific objectiveimages, but close connection with the psychological experience such asfeelings and emotions, the adoption of psychological research method andmaking use of contemporary psychological achievement should be animportant way in search of its intrinsic quality. After all, music is a complicated social cultural phenomenon and thepsychological experience of music is a certain cultural product and behaviorunder a certain social and historical condition, which has a complex and richconnotation. It's impossible to reveal the special character of music totally ifwe only look on this art as a psychological phenomenon and ignore its socialand historical connotation. Cognitive aesthetics is a new-type aesthetic form of science based on - 44 -modern cognitive scientific foundation. Proceeding from the angle ofcognitive science, cognitive aesthetics thinks that two conditions are needed tofeel and appreciate the form of things, the consciousness modes and thecomplete abstract thinking ability. The former enables people to producerelatively stable emotional responses through the perception of specificexternal f...
|
PDF Full Text Request