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Research on Relations between Experiences and Object Basic Theory of Musical Aesthetics

机译：音乐美学经验与对象与基本理论的关系研究

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摘要

Musical aesthetics is developed from the development of aesthetics, musical historiography, music criticism and other disciplines. Musical aesthetics draws essences from such disciplines and also presents unique disciplinary characteristics. From such perspectives as philosophy, psychology, sociology and aesthetic meaning of musical works, musical aesthetics explores for the nature of music, functional pattern of music and value standard of music. Research object is served as the initial point of research of any discipline. Musical aesthetics specifies its research objects, and its research objects are enriched with changing times, promoting establishment and enrichment of the disciplinary system. In this paper, a brief introduction is made to research objects and basic principles of music. Besides, the author also lays emphasis on the ontology and disciplinary system. At last, a simple analysis is made on relations between experiences and existing way of basic principles of musical aesthetics. Musical aesthetics is an auditory-experience-based discipline of philosophy of art, which utilizes conceptual analysis, philosophical recognition and other methods to reveal universal laws for aesthetic establishment and practice of human music. Similar to common humanistic disciplines, chief issue of musical aesthetics is the object of research, which concerns both domain of discourse and research objective of musical aesthetics, and decides its disciplinary nature and development orientation. Musical aesthetics dates from the second half of the 19th century. Through researches and explorations by numerous people, fascinating achievements are made in both theoretical and practical fields, promoting long-term development of musical aesthetics. In the process of document analysis, however, the author finds that there are still considerable different views for the cognition of research object of musical aesthetics. Therefore, the author arranges achievements and experiences of previous researches, combines actual conditions of musical aesthetics at present, and obtains the research object of musical aesthetics from the field of disciplinary system, which is helpful for deep development of this discipline.
机译：从美学，音乐史学，音乐批评和其他学科的发展中制定了音乐美学。音乐美学吸引了这些学科的本质，并提出了独特的纪律特征。从这种观点作为哲学，心理学，社会学和音乐作业的审美意义，音乐美学探讨了音乐性质，音乐功能模式和音乐价值标准。研究对象是对任何纪律的初始研究点。音乐美学规定了其研究对象，其研究对象丰富了更换时间，促进纪律制度的建立和丰富。本文简要介绍了研究对象和音乐的基本原则。此外，作者还强调了本体和纪律制度。最后，对音乐美学基本原则的经验与现有方式的关系进行了简单的分析。音乐美学是一种艺术哲学哲学的听觉体验纪律，利用概念分析，哲学认可等方法，以揭示审美审美建立和人类音乐实践的普遍规律。类似于普通的人文学科，音乐美学的主要问题是研究的对象，涉及音乐美学的话语和研究目标，并决定其纪律性质和发展方向。音乐美学从19世纪下半叶的日期。通过众多人的研究和探索，在理论和实践领域取得了迷人的成就，促进了音乐美学的长期发展。然而，在文件分析的过程中，作者认为，对于音乐美学的研究对象的认知仍然存在相当大的观点。因此，提交人安排了先前研究的成就和经验，结合目前的音乐美学的实际情况，并从纪律系统领域获得音乐美学的研究对象，这有助于深入发展这一学科。

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