Compared with other art forms, music has its particularity. It is an art of sound, which causes people's physiological and psychological reactions through hearing. At the same time, music is also the art of time, which can dominate the "continuation of time" and infect the audience with hearing for a period of time. The art of painting can express the object to be described and expressed through certain gestures of people and things in the painting, but it presents the "image" itself. Poetry art needs some vivid language to express content and emotion, so as to express "image". These plastic arts and literary arts can draw inexhaustible materials from nature. Comparing music with these art forms, we will find that in nature, there are no ready-made patterns and auxiliary materials for music. When people appreciate paintings and poems, they can intuitively feel some artistic conception and images. Can music appreciation also arouse the imagination of the audience, and does it need the participation of images? Music critic Hanslick pointed out in On the Beauty of Music: "Music beauty is the unique beauty unique to music. This is a kind of beauty that does not depend on or need foreign content. It exists in music and the artistic combination of music. The ingenious relationship between beauty and pleasant acoustics, their coordination and confrontation, chasing and meeting, jumping and disappearing-these things appear in front of our intuitive minds in a free form and make us feel beautiful and happy. " From this point of view, Hanslick holds a negative attitude. In his idea, the content and form of music are the same thing. Hanslick believes that music cannot reflect and express the image of objective things. He believes that all the visual descriptions, descriptions and explanations of music works are wrong, and music can only be appreciated and understood through itself. This shows the impossibility of the image.
The author thinks that Hanslick's unique idea of "self-discipline" music is concrete and profound from the particularity of music, and reached a certain height at that time. But from the essence of beauty and aesthetic image, it seems that beauty is inexorable whether there is an image or not. Image is like a spatial translation based on human mind, and this delicate and abstract inner feeling needs to be expressed and displayed. The most common and direct way of communication between people is through language symbols. Music can trigger people's emotional communication activities and moral cultivation. In daily music activities, in order to facilitate people's emotional cognition and communication of music, it is necessary to describe it vividly with the help of language and express their understanding and feelings about music. Music has images. A musician, if there is no such thing as "image" in his mind, his musical level and accomplishment are questionable.
Music can be said to be the only art in nature and objective environment that cannot be used as a sample. Because of this, music is free, liberated and closest to our inner world. Music has a strong influence on people's nervous and psychological mechanisms. Cui Ning once put forward the concept of "music mirror neuron (system)", arguing that the formation of music image is not unprovoked and groundless, but the synchronization of stable and harmonious activities in various regions of the brain, which is essentially a process of philosophical cognition and practice. Physical representation breeds various musical representations from the sensory cortex, and musical representations gradually form musical images in the joint cortex in imagination, and musical images eventually form musical images-the highest product of human mind's cognition of music.
From a psychological point of view, under the influence of psychological mechanism, every specific individual will present music as the first translation in his mind when he appreciates music. In daily communication activities (language criticism), the images formed in the brain will be translated for the second time, and the purpose of communication will be achieved through language. Music works are the best means for composers to express their feelings, because they are time-space, symbolic, transformational and self-disciplined. When composing works, composers take objective life experience as the basis, images accumulated and stored in the brain as the material, and aim at conceiving a certain artistic image around a certain theme. Then, with the help of analysis, modification, exaggeration, emphasis, fiction and imagination, the composer selects, transforms, processes and beautifies the image materials, and finally sketches and creates a brand-new and mature artistic fetus-artistic image in his mind. In order to let the public understand the composer's mood and emotional experience, they change through the movement form of music. In order to better convey and grasp the artist's aesthetic taste and style, we need to use some vivid language to express it. In daily communication activities, the literary description of images is inevitable. This is true of any music critic and theorist. Hanslick believes that the beauty of music does not need to be attached to the outside, and the "coordination and confrontation, chasing and meeting, jumping and disappearing" between music sounds can make us feel happy. In fact, it is close to an image description. This is especially true for music education. In daily music activities, in order to better construct cultural communication and achieve teaching effect, rhetorical language is needed to express inner feelings, that is, the elements of "meaning". Without language expression, the quality of teaching will be greatly reduced. From this point of view, the study of music image is important and necessary. Because each of us has a different life experience and artistic experience, the image we build in our hearts will not be exactly the same. Communicating in language, the described homologous images are not exactly the same (because there are differences in individual language ability and word use), but they are generally similar. As a musical image, we don't expect everyone to be exactly the same, and the same description in the basic understanding dimension does not prevent us from communicating and communicating with images. Kant said: "Appreciation judgment itself does not assume everyone's consent (only logical universal judgment can do this because it can give reasons);" Appreciation and judgment only assume that everyone agrees. As expected, this is not determined by ideas, but by expecting others' approval. "Imagine that the images described by everyone are very different, and artistic communication seems unintentional. This is also the premise of the establishment of image research.