Can music and emotional music express emotions from neoclassicism? On this issue, there have been many debates in the history of western music: in the west, when18th century music changed from vocal music to instrumental music, Mora and Rousseau also had a debate about which is the best melody or harmony. In the 20th century, new music completely returned to self-discipline and completely broke away from the complete heteronomy of pop music. It is not difficult to see that in the history of western music development, the questioning of the basic problems of music aesthetics has always been carried out in the focus of the debate between music self-discipline and heteronomy. The situation that emotional music aesthetics and self-discipline music aesthetics rival each other in the European music forum began in the late19th century. He opposed perceptual music aesthetics, and put forward the views that "music can't express emotion" and "the content of music is the movement form of music sound", emphasizing that music "conveys a material sound that transcends society and class", and that music has no social content, goodwill and elegance, and it is impossible to convey the composer's thoughts and feelings. Later, on the eve of the 20th century, this theoretical divergence penetrated into the field of music practice, and many composers began to choose either camp consciously or unconsciously, and infiltrated their own aesthetic thoughts into their respective creations. At that time, neoclassical music school and expressionist music school were the representatives of self-discipline and heteronomy music aesthetics respectively. So, who is right and wrong? Let's take a look at it separately first: Neo-classical music school takes the theory of music aesthetics as its theoretical guiding principle, and tries its best to safeguard the creed of music self-discipline and opposes using music to express anything other than music. The typical slogan of this school is "Return to Classics", and this slogan cannot be separated from the basic idea of self-discipline music aesthetics. Its main representative is LGOR Fyodorovich Stravinsky (1882- 197 1), who thinks: "Music cannot be expressed at all in essence. Performance is by no means the purpose of music. " This seems to be exactly the same as Hanslick's theory of self-discipline, but Hanslick at least admits: "The movement of space and time, as well as the color, aesthetic feeling and size of objects, the level, timbre and strength of music, are all similar in fact, so we can really describe things with music." Stravinsky refused to admit that music has any expressive function. In his view, a musical work is a self-sufficient sound structure that has nothing to do with the outside world, and its form presents an orderly arrangement and combination of a series of musical sounds. The process of composer's music creation is the process of arranging music materials according to certain structural principles. "Even if music seems to show something (almost always), it is only an illusion rather than reality. That's just because of a long-standing tacit understanding. As labels and conventions, we give and impose an additional attribute to music-in short, the side that we misunderstand the essence of music unconsciously or because of habitual forces. " From this point of view, he is more extreme and radical than Hanslick! Contrary to the aesthetic proposition that neoclassical music maintains the creed of music self-discipline, expressionism emphasizes that the object of artistic expression is people's subjective emotion, and denies the value of the real world and its objectivity in art. Its creative thinking and aesthetic taste embody the basic idea of emotional music aesthetics. His artistic thought is closely related to the romantic trend of thought in the19th century, but the difference lies in that the theory and practice of expressionism pushed the romantic consciousness of emotional expression to the extreme, more radically emphasized the different side of the subject's emotion from the external real world, advocated excluding the imitation of objective realistic factors in artistic creation, and put purely subjective and irrational (intuitive) emotional experience into form. In this way, some realistic factors contained in the previous romanticism were completely filtered out and replaced by an absolute theory of subjective emotional expression. On the one hand, expressionist artists strengthened the concept of emotional expression in romantic aesthetics, and at the same time made great breakthroughs in specific expression techniques. The Austrian composer Schoenberg (1874- 195 1) is the representative of expressionism in music art, and he pointed out: "The understandability required by artistic value is not only for rational satisfaction, but also for emotional satisfaction. However, no matter what emotions the creator wants to inspire, his ideas must be expressed. " He believes that the essence of art is closely related to people's emotions. From this point of view, expressionist music aesthetics seems to be more humane than neoclassicism, but in fact, the ideas of their two schools are not so convincing! Neoclassicism is too objective, which will make music lose its humanity and spirituality; Expressionism is too subjective and may be counterproductive. Facts have also proved that after Schoenberg's death, some later expressionist composers pushed his 12 tone composition method to the extreme, resulting in full-sequence music that not only serialized the pitch, but also incorporated all musical elements such as tone length, timbre and dynamics into the structural principle of serialization. As a result, music has really become the "controlled sound" defined by Stravinsky, and it has become the object of mathematical calculation, and it is rarely related to it. Although expressionism and neoclassicism were only two music schools in the first half of the 20th century, as a pair of opposing musical aesthetic concepts, the opposition between expression and non-expression, emphasizing subjectivity and pursuing objectivity did not disappear with the obsolescence of expressionism and neoclassicism. The fundamental difference between these two schools also exists in the theory and practice of the new generation of composers. We can see that in the current research of music theory, there are different understandings about whether music can express spiritual ideas and convey some good lessons to people in the process of appreciation. Some music theorists question the function of music in expressing images, conveying ideas and educating souls. Does this cater to Hanslick's proposition? People often say that "art comes from life and is higher than life". What does this mean? All literature and art are the products of human social life reflected in the minds of writers and artists, which are dynamic, vivid and aesthetic. Literature, drama, music, fine arts, movies, TV series, dance ... No matter which art category, whether narrative or lyric, whether writing the relationship between people or the relationship between man and nature, it is inseparable from socialized people. Since people live in society, they cannot avoid all kinds of emotions. Since art comes from life, it can't be divorced from emotion. How high can it be higher than life? Is it too high to even have feelings? If there is such art, I think it will not be accepted by the audience. Confucius (565438 BC+065438 BC+0 BC-479 BC), the founder of Confucianism in China, was a great thinker, politician and educator in the Spring and Autumn Period, and was also one of the important representatives in the history of music culture in China. Politically, he advocates "Wang Zhidao first", "ruling the country by virtue" and "ruling the country by courtesy", emphasizing the political role of rites and music, and emphasizing that music can influence people morally (the social function of music). He once said: "It is not good to be happy and change customs, and it is not good to be polite to the people." Confucius admitted that music is ideological and artistic. Evaluating musicians by "goodness" and "beauty" has become one of the earliest musical aesthetic standards in human history. Confucius believes that musicians can reflect people's pain and joy, but they must be restrained emotionally and cannot go beyond the moral principle of the golden mean. Thus, "Confucius sage" thinks that music can express feelings, but it must have its "degree", which I think the western expressionist school can't do. Xunzi (about 365438 BC+238 AD), another representative of the Confucian school, believed that music can inspire soldiers in front to fight bravely, and in a peaceful environment, it can make people gentle, courteous and frugal. Not only they, but also many scholars at all times and all over the world call music an art of expression. The Book of Rites and Music, which represents the aesthetic thoughts of Confucian musicians, discusses the origin of music: "The prosperity of the mortal world originates from the human heart; The movement of people's hearts, the use of things, and the feeling of things are shaped by sound. " Music is composed of music, and its root is that people's thoughts and feelings are stimulated by external things. Socrates in ancient Greece said, "Keep fit with exercise and nourish your heart with music". These statements all touch on the essence of music. If the object and narrative are not the strengths of music, then revealing emotions and hearts is its specialty. Excellent music works always have strong emotional impact, which makes people crazy and ups and downs. It can be said that music reflects life, mainly not the external characteristics of life, but people's feelings about life. If composers have no basic sense of social responsibility, if society can never ask about music, whether it is noble or vulgar, beneficial or harmful, what will our music life be like? "The Book of Rites and Music" says: "The musician is virtuous." Beethoven said, "Music should inspire the human spirit". These are all words of wisdom. "Only when the works of art convey the agitated feelings of the author to the audience can they produce the greatest effect and arouse the agitated feelings of the audience." (Quoted from Peter S hansen: Introduction to 20th Century Music). Real music is "from the heart" and will also "return to the heart". It is because the composer has accumulated all kinds of strong feelings in the face of this beautiful world or this cruel reality, but suffers from the lack of literary talent of the poet, and instead uses this more natural way to flow his passion into notes. The German composer Hans Werner Henezer (1926-) once said: "Music can bring information about human life, such as love or forgiveness. I know it's a little dangerous to say this. Some people think it's stupid and outdated, but I totally believe it. The modern Polish composer krzysztof penderecki (1933-) put it more clearly: "It goes without saying that music should directly enter the emotions and thoughts of the audience. "To say the least, we can listen to pure music (instrumental music) without adding our own emotions, but what about listening to songs? Why do you want to fill the lyrics into the song, and why do you want to compose the original simple poem? Isn't it the expression of the author's inner feelings? Shouldn't you consider the meaning of the lyrics when composing music? Can he really not join his own subjective experience? Even if he writes it, can such a work be accepted by the public? If so, I'm afraid China's first oratorio "Song of Eternal Sorrow" has long been unrecognizable. I don't think any author wants his work to be gone forever like a meteor! Speaking of this, I think it involves another issue of "secondary creation". What is "second creation"? Refers to the actor's re-creation on the basis of his understanding of the work. In music, it is to add his own emotional processing and skill expression. Such works can impress the audience, enter their hearts and be remembered forever! On the other hand, if the composer puts himself in a very objective and calm position when creating, how can an actor understand such a work, let alone "secondary creation"? This kind of work is really close to mathematics, and there is nothing to appreciate. In the daily music life of ordinary listeners, the concept of emotional music aesthetics still has a very broad and solid foundation. For most music recipients, it is natural to understand music with emotion. They can't understand why some modern composers take pains to turn music into something irrelevant to people's emotions. In the eyes of many people. Music is the most emotional art, Tolstoy once said: "I like music better than all other arts." Hegel once said: "Music is the spirit, the soul. It directly speaks for itself, arouses its attention, and gets satisfaction from it ... Music is the language of the soul. The soul expresses its inner joy and sadness through sound, and gets comfort in expression, surpassing natural feelings. Music transforms the unique excitement in the depths of the emotional world into the freedom of self-listening, freeing the soul from depression and pain ... "The carrier of music is of course sound, but there is no lack of silence in music. Laozi, an ancient philosopher in China and the founder of the Taoist school, has a famous theory of music-"Loud voice and happy voice"-which of course reflects his world outlook, and we can also appreciate the profound philosophical truth by studying music-he thinks that the best music should make people feel harmonious and calm, and this kind of peace can make people unconsciously edify and sublimate. Bai Juyi's Pipa Trip: "Silence is better than sound", the strings are the expression of heartstrings, and the beauty of silence here is of course the true feelings of pipa girls. There is a saying above that "Ning will never stop", and below it is "Jumping out of the armored steeds, and the weapons collide with each other". Only the "stop" and "the sound of swords and guns" in front are more powerful. Because we are both unhappy-to the end of the day, Bai Juyi's feelings at this time are the same as those of the pipa girl, so he has a profound feeling in silence. Excuse me, is this kind of "silence is better than sound" music created with Stravinsky's unique indifference and objective expression? John Cage's 4' 33' caused an uproar in the music industry. Although this modern art form cannot be regarded as music in the eyes of many people, music is used by musicians to express their feelings. From the audience's point of view, he is the first to be told, and then he can feel something from the music, or just enjoy hearing, or cause deeper thinking. In these silent music, the performers are inspiring the audience to explore their inner feelings. Although such feelings are not expressed in the form of music, thinking in silence is bound to be more free than listening to music. In modern society, the pace of people's life is accelerating, and busy people increasingly need music, the art closest to emotion, to adjust their hearts. For those cold modern "pure music" concocted by mathematical methods or accidental methods such as drawing lots and playing divination, there will be no more interest except curiosity and surprise. In my personal opinion, "Music is the art of emotion" should be an eternal truth. From a certain point of view, in music, people's emotions are the most important!

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