On the Representative Figures and Their Views of Autonomy and Heteronomy in Western Music Aesthetics

Abstract：

The autonomy theory and heteronomy theory in Western music aesthetics are evolving ideological systems that have developed over time. The autonomy theor originated from the exploration the independence musical form and gradually established a theoretical framework centered on the form itself. The heteronom theory, on the other hand, matured along with the Romantic emphasis on emotional expression. This article aims to trace the representative figures the autonomy and heteronomy theories in music and explore the implications for the essence and value music.

Chapter 1: Concepts Autonomy and Heteronomy Theories

1.1 Autonomy Theory Aesthetics

The autonomy theory emphasizes the formal beauty music. It holds that music, in and itself, should not contain any emotional content. Form is the sole mode existence for music. Moreover, it asserts that the content music is not external or separate from the music itself. Therefore, the laws and rules music are maintained and regulated by music itself.

1.2 Heteronomy Theory Aesthetics

The heteronomy theory is the opposite the autonomy theory in its understanding the essence music. The heteronomy theory values the content music and emphasizes its content beauty. In other words, heteronomy theorists advocate the "emotional theory," believing that only by infusing spiritual content into music and expressing emotional factors can true musical art beauty be achieved.

Chapter 2: Representative Figures Autonomy and Heteronomy Theories in Music

2.1 Autonomy Theory

The representative figure the autonomy theory is Rameau the 18th century, who advocated the "harmony school": music should establish its own principles with the help mathematics. Rameau emphasized the importance mathematics in music, believing that the formal laws music, marked by harmony, are objective laws, just like various principles in mathematics. Therefore, he advised people to view music as a "science that must master certain laws." He emphasized the formal beauty music.

2.2 Heteronomy Theory

The representative figures the heteronomy theory are Romantic composers who adhered to the emotional theory aesthetics. For instance, Liszt, a typical figure, emphasized that music expresses human emotions. He believed that the inner emotions expressed by music do not require the mediation thought, nor do they rely on plots or metaphors, but independently reveal their captivating charm. This "emotional theory" music aesthetics was not only followed by the vast majority European musicians in the 19th century but also implemented in their musical compositions.

References

[1] Wang Chicao. Aesthetics Music [M]. Beijing: Higher Education Press, 1994. [2] Zhang Qian, Wang Chiyane. Fundamentals Music Aesthetics [M]. Beijing: People's Music Publishing House, 1992.