众所周知,从古代“诗乐舞不分”的艺术初创阶段开始,音乐跟诗歌、舞蹈一样作为线性艺术的典范,因其自身对于人类情感的独特表达而具有不可替代的地位。随着人类认知能力的提升,音乐与情感演绎方式的变革都成为音乐美学研究的重要论域。尤其是进入20世纪20年代之后,关于音乐创作与演绎的阐释逐渐走出传统意义上的路径,呈现出一种跨越学科理论指导下的全新样态。可以说,包括现象学、美学和符号学在内的诸多理 It is well-known that music, like poetry and dance, as an example of linear art, has played an irreplaceable role in the unique expression of human emotions since the beginning of the art of “no division of poetry and music” in ancient times. With the improvement of human cognition ability, the change of the way of music and emotion deduction has become the important discourse of music aesthetics research. Especially into the 1920s, the interpretation of music creation and deduction gradually walked out of the traditional path, showing a new style under the guidance of discipline theory. It can be said that many phenomena, including phenomenology, aesthetics and semiology