| Hugo. Riemann(1849-1919) was a world famous musicologist of modern German, in his life he has achieved fruitful results in various fields of Musicology study, and music aesthetics is an important part in his Musicology study. His music aesthetics thoughts s represents in a certain extent new trends and new directions of the development of Western musical aesthetics at the turn of the century (19th century -20 century), and embodies the change trajectory of the Western music aesthetics development in the modern time.The basic contents of Riemann's Music Aesthetics can be recognized from three aspects: firstly, three premises of Riemann's music aesthetics thoughts: viewpoint of music listening, music logic, tone imagination. Viewpoint of music listening places the music oberservation into listening process, and subjectivity and objectivity of music are no longer be separated and isolated areas of discussion, which reveals the special nature of music existence. Music logic is a new logical starting point of Riemann's music aesthetics thoughts, a priori. Music logic is an intrinsic nature which realizes music existence and embodies Riemann's understanding about music essence. Tone imagination is a new concept proposed by Riemann. It is an existing psychological behavior based on music logic to make a connection between the tone as a physical phenomenon and the human emotions, so as to realize the transition of music from a purely physical presence to an emotional carrier. Secondly, Riemann's recognition about three elements of music composition. Riemann believes that three elements of music are the basic element, organizational element and imagination element. But because of their different subjective degree, their proportions in different music are also not uniform. Riemann treats the basic element of music as the basic kernel of musical art. This basic kernal has an natural and inevitable connection with human emotional movements. Organizational element of music is a structure element associated with basic element, which but at the same time enables the basic element to be unified and orderly. It is the reason why the music can be expressed. Imagination element of music is with obvious subjectivity, and is a psychological element. It is realized through the imagination activity and with the help of inherent emotional experience of the activities. It is the important element through which the title music and descriptive music can be realized. Through the discussion to the three music elements, in fact, he elaborates on the nature of music, musical form and content, as well as the fundamental viewpoints for the title music, a special music form. Thirdly, the defination of Riemann about the subjective music and objective music. Riemann doesn't analyze the absolute music and title music from the viewpoint of music form and content, and finds a way to reconcile between title music and absolute music. Through these three points, we can have a more comprehensive and clear grasp to the basic contents of Riemann's Musical Aesthetics thoughts.Riemann's aesthetic's thoughts has at the same time traditional characteristics and distinctive characteristics of the times. As a systematic musicologist with deep philosophy accomplishment, his aesthetic ideas always adhere to the musical position and philosophical character; As a music esthetician at turn of the century, his music aesthetics ideas are always with inheritance and exploratory; As a music aesthetician in a period of pluralism, his music aesthetics ideas are with multi-solution and multi-sources. These constitute the overall characteristics of his musical aesthetics thoughts.The value inherent in Riemann's music aesthetics thoughts as well as the characteristics has a wide impact on the development of Western music aesthetics, and constitutes an integral part during the development of Western music aesthetics. It has also an important inspiration significance and reference value to today's research development of Chinese music aesthetics.
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