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本文对首期北京“乐文化沙龙”进行个案考察与定性分析,认为音乐创作、音乐表演和音乐鉴赏是音乐审美实践的三种方式,其审美对象内涵包括表象层、中间层和潜在层;音乐审美行为能力是个体音乐审美素养的核心内容,其内容包括对音乐感性材料的感官感知觉能力,对音乐表现内容的理解与体验能力和对音乐情感、思想的感悟和沟通能力三个方面;现代音乐是当代人对当代现实文化的艺术化表现形式;艺术美育提高人的感性素养,对个体人格的完善、精神需求的满足、人生境界的提升,以及对社会二线伦理建构、社会精神文明的进步、社会文化品位的提升等都起着不可替代的作用。在中国实施和普及社会艺术美育为当下之需,但应以人为本,让艺术回归生活,同时要更加重视艺术本体的感性审美价值创造,淡化宣教色彩,将意识观念的表达消融在艺术本体的感性之中。
This paper makes a case study and qualitative analysis of the first Beijing “Cultural Salon of Music”, and thinks that music creation, music performance and music appreciation are three ways of music aesthetic practice. The connotation of aesthetic object includes the appearance layer, middle layer and potential layer ; Music aesthetic ability is the aesthetic content of individual music core content, which includes the perceptual sensory perception of musical sensory material, the ability to understand and experience the performance of music content and music emotion, thoughts and communication ability of the three aspects ; Modern music is the contemporary art form of contemporary real culture; art aesthetic education to improve people’s emotional literacy, personal personality improvement, spiritual needs satisfaction, enhance the realm of life, as well as the construction of social second-line ethics, social and spiritual civilization The improvement of social and cultural taste and so plays an irreplaceable role. It is necessary for us to implement and popularize the social art aesthetic education in China. However, we should take people as the foundation to return the art to life. At the same time, we should pay more attention to the perceptual aesthetic value creation of the artistic noumenon, dilute the missionary color, melt the expression of the concept of consciousness in the perceptual in.