As for the attributes of music criticism, there is currently no systematic research data to draw from. Through many years of practice in music education and music research, the author believes that music criticism has the following attributes compared with music creation, music performance, music education, music appreciation and other music art activities: Creativity and inheritance

Music The creativity of criticism means that music criticism is a creative thinking activity just like music creation. Music criticism is a social science that coexists with music creation. As a science, music criticism must also constantly explore unknown areas, approach the music phenomenon being reviewed from different perspectives, and propose new understandings and discoveries of the reviewer. and new perspectives. Although music criticism is a social science that coexists with music creation, music criticism does not directly create musical works. The creativity of music criticism is mainly reflected in the theoretical understanding and analysis of music phenomena in real life, focusing on the reviewer's understanding of the subject. Comment on new understandings, new discoveries, new perspectives, etc. of the subject. This requires music critics not to stick to the old ways, to be specific in their comments on the object being reviewed, and not to simply use general and arbitrary words such as "good" or "bad"; "success" and "failure" to draw conclusions. The inheritance of music criticism means that music criticism is a process of re-understanding music phenomena that already exist or have occurred. Since it is a process of re-understanding, we will inevitably encounter the problem of understanding the reason for the existence of this musical phenomenon. This understanding process is the concrete embodiment of inheritance. To comment on a music phenomenon, you must understand it, master it, and inherit it through learning. Only on the basis of absorption and inheritance can you analyze, research, summarize, comment, and create. For example, Yang Xiurong’s review of the Yangqin music “Si” written and performed by Wei Yanming in the article “Simple and Unpretentious with Profound Artistic Conception—Comments on the Yangqin Music “Si” was based on “what he realized after listening to the work repeatedly and talking with the author. It is carried out on the basis of the artistic conception shown in "Thoughts" and the creative mentality revealed in the works. The inheritance of music criticism requires music critics to first comprehensively and accurately understand and master the characteristics and essence of the object being reviewed, fully understand the artistic creation background of the object being reviewed, and understand the emotional realm of the object being reviewed. The inheritance of music criticism is the basis of creativity of music criticism. Music criticism without inheritance has no basis for existence, let alone creativity. Subsidiarity and independence

The subsistence of music criticism means that music criticism is based on the existence of music phenomena and exists dependent on music activities. Before the emergence of music phenomenon, there was no music criticism; on the other hand, music criticism will disappear with the disappearance of music phenomenon. When music and art are prosperous, music criticism activities are also prosperous and diverse; when music and art are decadent, music criticism is also depressed. It shows that the emergence, development and prosperity of music criticism are determined by music phenomena. This requires that music criticism must be accurately positioned within the scope of music and art activities on the one hand. Music criticism that transcends musical phenomena is blind criticism. On the other hand, music criticism must be closely connected with the practice of music art and cannot be separated from the practice of music art. Third, music criticism should be conducted from a developmental perspective. The independence of music criticism means that music criticism is a social practice activity that is independent of other music activities. Music criticism has its own nature and attributes, basis and principles, principles and methods, etc. The rules of music criticism are the same as those of music criticism. The laws of other aspects of music phenomena, such as the laws of music creation, music performance (singing), and music appreciation, have significant differences and differences. Objectivity and subjectivity

The objectivity of music criticism means that music criticism is an objective social phenomenon, and the results of music criticism are real and can stand the test of practice, rather than Like works of music and art, they can be fictionalized and exaggerated. This requires music critics to be cautious and comprehensive when drawing review results, and not to be blind and one-sided. At the same time, this attribute determines that music criticism must be based on the principle of seeking truth from facts.

As a humanistic activity, music criticism has attributes such as creativity, inheritance, subsidiary nature, independence, objectivity, subjectivity, contemporary nature, historical nature, criticality, and guidance. These attributes exist in the practice of music criticism. When conducting music criticism, the results of the comments must be able to comprehensively reflect the above-mentioned attributes of music criticism. You cannot emphasize the attributes of one aspect and ignore other aspects, especially those that are opposite to it. property.