The Way of Existence of Musical Works from the Perspective of Music Aesthetics

Talking about the way of existence of musical works from the perspective of music aesthetics

Abstract: Regarding the aesthetic problem of the way of existence of musical works, there are different opinions of various schools of thought with their own systems. This paper starts from the artistic point of view, and through the mutual integration of the three levels of sense phase, imagery and implication of the way of existence of musical imagery materialization; the integration and penetration of the two value levels and factors of aesthetics and non-aesthetics, which run through the structure of the work of art as a whole, and run through the three levels of sense phase, imagery and implication; as well as the aesthetic reflections on the modern musical works, the paper develops a new conception of the way of existence of musical works. The analysis of the mode of existence of this three-dimensional net-like structure formed by the aesthetic thinking problem not only enriches the connotation of the problem of the mode of existence of musical works, but also develops a new perspective of the analysis of musical works.

Keywords: musical work; mode of existence; sense-phase layer; imagery layer; implication layer

The question of the mode of existence of a musical work is an important topic in music aesthetics and even in the whole music culture, as far as the pre-Qin philosophers and Greek philosophers, as well as the modernist art trend in the West, and as far as the domestic symposium on the theme of the mode of existence of music, which was held in May 1996, the symposium on the theme of the mode of existence of music was organized by the Chinese government. As for the symposium on music aesthetics held in May 1996 in China with the theme of "the way of existence of music", all of them have had concise and incisive discussions on this issue, involving both creators-artists, receivers-appreciators or critics on music, and philosophers on philosophy.

The way of existence of a musical work as a product of musical artistic production and activity, i.e., the materialization of musical imagery, requires that we first elucidate "materialization," "musical work," and "musical imagery. We must first clarify the concepts of "materialization", "musical work", and "musical imagery", and then reveal that the way of existence is a combination of the three dimensions of sense, image, and meaning, and that the aesthetic and non-aesthetic aspects of music run through these three dimensions throughout, thus forming a three-dimensional mesh structure of the way of existence of the musical work, which is the source of the mesh structure (including music creation, music appreciation, and criticism). Artistic activities, the main body engaged in these activities is human, is full of rich human emotions.

I, materialized musical imagery musical works

A beautiful tune, a rich harmony, the state of the subject in front of the display, it is clear that it is different from a naturally growing tree or a beautiful use of the table ...... Admittedly with the biggest and most fundamental difference between the immateriality of the music. The most fundamental difference is the immateriality of music. The art of music, which is the spiritual production activity of human beings, is an immaterial production activity. Music can neither occupy a real material space, nor can it be used, such a state can be called "materialization". "The so-called 'materialization' is the condensation of spiritual production activities into spiritual products ...... which take a certain material form as the medium and carrier...as the tools and means of carrying and conveying spiritual activities. ...... do not lie in their own material nature, but in the spiritual carriers they become by condensing their spiritual content." As a physical product, music is distinguished from other works of art, such as paintings and sculptures, by its "fine art imagery". The constituent factors of "musical imagery" are different states of sound, such as height, length, timbre, harmony, and modulation, which are the means and methods of producing different states of sound. In the musician's case, they are responsible for constituting the "image". And this "image" must have "meaning", that is to say, to materialize the image, to make the mental image into an "image", that is to say, to determine the image in the form of materialization, (the musician's emotional life and rational spirit infused into it) so as to constitute the "image" of the musician. The musician's emotional life and rational spirit are infused into it), thus constituting a beautiful musical work of art that exists in reality.

In a nutshell, a musical work is "the materialized way of existence of musical imagery". It is the product of the spiritual production activities of all human beings, including composers, performers, appreciators and critics, and is the result of the construction of spiritual emotion and rationality*** together. This is only the definition of the musical work, specifically what kind of structure it exists

Two, the way of existence: the integration of the three levels to maintain

Modern Chinese aesthetics and art circles, the analysis of the structure of the work of art, in addition to most of the use of the two levels of content and form of the two-fold combination of the said that is the three-layer said. Zong Baihua's "the birth of Chinese art mood" in the book "aesthetics and mood" in the summary of the theory of the creation of Chinese art mood put forward the three levels of art mood, we can be regarded as a work of art structure theory. Zong Baihua points out that "artistic mood is not a single-layer, flat reproduction of nature, but the creation of a realm of depth. From the molding of intuitive sensation, the conveying of active life, to the highest spiritual realm of revelation, there can be three levels. Revelation, there can be three levels." However, the three levels of the work of art proposed in Li Zehou's Art Miscellany see Going My Own Way, i.e., the perception layer, the erotic layer, and the meaning layer, are roughly the same as Zong Baihua's three levels. The perception layer is the layer of perceived form; the erotic layer is the layer of image life, including the intermingling of eroticism and conception; and the meaning layer is the "sense of mystery, sense of destiny, sense of mission, sense of the universe, and the realm of life," etc., which is embedded in and transcends the first two levels. Li Zehou's three-level theory is a solid artistic communication and aesthetic acceptance. Comparatively speaking, Zong Baihua's and Li Zehou's three levels or three levels of analysis are more reasonable and combined with aesthetics. The three levels are the sense-phase layer, the imagery layer, and the meaning layer.

(1) The sense-phase layer can be called the sense-form layer. As the surface layer of a work of art, the sense-phase layer is made up of the fusion of physicality and mindfulness. Physical nature is the material materials that constitute the surface layer of art works, such as gold, stone, wood and bamboo, and their nature, texture, structure, hardness, movement, rhythm, rhyme, speed, strength, shape, color, sound and its combination of laws, symmetry, equality and harmony, and so on. Under the conditions of modern technological development, the material materials that constitute works of art are increasing, such as various synthetic materials. However, the material material, its nature, structure itself, and the law of combination are only an abstract perceptual existence, which does not constitute the structure of a work of art. Only through the penetration and fusion with the nature of the heart, that is, through the writer or artist based on the artistic theme and aesthetic interest, by virtue of the artistic talent and skill, thus becoming a conceptualization of emotional things, or as an artistic support, or as an artistic carrier, or as an artistic medium, only at this time that kind of materiality with a spiritualized nature, only then it becomes the sensory layer of the work of art, that is, the manifestation and conveyance of a certain kind of erotic concepts and aesthetic interests, and the use of material materials to express and convey a certain kind of emotional concepts and aesthetic interests, and the use of material materials. aesthetic interest, the sensual form of direct observation by the senses, and the language that blends love and scenery, thus constituting the sensual layer. For example, Bai Juyi's poem Flower is not a flower: "Flower is not a flower, mist is not a mist; it comes in the middle of the night and goes in the morning. How many times does it come as a spring dream? Going is like the morning clouds without a place to look." This short poem uses a series of metaphors to express a transient phenomenon of life in search of a cherished feeling, using the real as a metaphor for the virtual, and the transient nature of the real reinforces the transient and hazy experience of the search for life. Like "non-flower", "non-mist" this negative but contains "like a flower", "like a mist" simile in and then half of the night "Come as a spring dream", daybreak "go as morning clouds", like a dream like clouds come and go in a hurry, nowhere to find, just like the phenomenon of the life of the passing of the cherished chorus. The metaphor contains love, and these four lines constitute the feeling phase layer of the poem "Flowers are not flowers".

(2) Imagery layer is the imagery system which is integrated into the work of art, which is constructed by the artist, and which is dependent on and presents itself in the sensory layer and obtains the physical form, i.e., the form of physical existence, while the imagery itself is latent in the work of art. Imagery is the existence in imagination, and the existence in experience is different from the objective existence with the kind of image work, so we call this level the imagery layer, not the image layer. The imagery layer can also be called the life-imagery layer, which is roughly equivalent to the "reproduction object layer" (Ingarden), the "active life" layer (Zong Baihua) and the "erotic layer" (Li Zehou). Li Zehou). The imagery layer refers to the natural and humanistic pictures of characters, personalities, actions, plots, environments and situations in the art works, which are constructed by the artists using various methods to give them life, movement, power, passion and wisdom, so as to reveal the vitality of the natural universe and the "truth" of the society and life, "meaning" of social life. Love and hate, life and death are contradictory conflicts of lust, with deep psychological roots, but the form of life as a character is by no means a mere manifestation of lust itself; it is inevitably infiltrated with social rationality under the influence of social civilization, sublimating it from instinctive lust into a form of social civilization. Therefore, it will go to a higher level of civilization.