The research methods of music aesthetics are as follows:

Music aesthetics has close internal connections with general aesthetics, music technology theory, music history, music criticism, etc., and the subject of music aesthetics The development and deepening of scientific research are often inseparable from drawing nutrients from the achievements in the above-mentioned fields.

The study of music aesthetics can be conducted from the following different perspectives: the perspective of philosophy, the perspective of psychology, the perspective of broad sociology, and the perspective of the aesthetic characteristics of the musical works themselves. The philosophical study of music art mainly involves the following questions: What is the essence of music? What is the content of music? What is the relationship between music and reality? And so on. These issues are extremely closely related to philosophical epistemology and are of fundamental nature. They are the first issues to be discussed in musical aesthetics. Questions that need to be answered when studying music art from a psychological perspective, such as what are the psychological processes of music creation, performance, and appreciation? How do people experience music? In what ways does music affect the listener? Since the 20th century, the development of psychological science has provided the basis and premise of natural science for the study of music from the psychological perspective, and opened up the way for this new field of music aesthetics research. Studying music art from a broad sociological perspective involves a series of issues such as the social function of music, the value standard of music, the class factors of music, the continued existence and inheritance of music, etc. As for the aesthetic characteristics of the musical works themselves, Perspective research involves a series of issues such as examining musical aesthetics from the structure of musical works and the intrinsic characteristics of various constituent factors.

People can engage in the research of music aesthetics from one of the above different angles, but as a science, music aesthetics should be a whole with its own complete system. Research on the philosophy, psychology, sociology of music art and the aesthetic characteristics of musical works themselves. There is a profound inner connection between these four aspects. It is incorrect to devalue or even deny the value of other aspects of research by emphasizing one aspect in isolation. Only by integrating the valuable results of the above four aspects of research can we form a complete whole of musical aesthetics.

Musical aesthetics takes music as its object, which probably does not cause any doubt. This judgment seems to exclude everything that is not music from our field of vision at once. Musical art practice is the material foundation on which musical aesthetics is built. When the general aesthetics community discusses their research objects, the protracted debate about whether to focus on art or include natural beauty and social beauty in life seems to have never happened in the music aesthetics community. Because the name itself is limited to music. However, just for the purpose of studying music, it is not enough to just talk about music. You must understand its connection with things outside it. Just like if we want to understand a leaf, we must understand the branches, trunk, roots, and the surrounding environment of the naked tree on which it grows.