在中国,真正意义上的音乐美学学科体系是从20世纪才开始建立的,经历了几代人的努力,特别是自上世纪70年代末以来,音乐美学在基础理论建设上取得了丰硕的成果,许多问题的讨论得到了深化。然而,一个学科如果要取得更大的成就,要保持更加旺盛的学术活力,就需要不断地提出新问题,不断地开拓新的学科生长点。在笔者看来,新时期,中国音乐美学的一个新的学术增长点就应该是超拔于纯粹的思辨传统,而 In China, the true system of music aesthetics has been established only from the 20th century to the present, and has undergone several generations of efforts. Especially since the late 1970s, music aesthetics has achieved fruitful results in building basic theories Discussions on many issues have been deepened. However, if a subject is to achieve greater accomplishments and maintain a more vigorous academic activity, it is necessary to constantly raise new questions and constantly explore new disciplines. In the author’s opinion, in the new period, a new academic growth point of Chinese music aesthetics should be super-pure speculative tradition