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当三度、六度音程出现时,保守的经院音乐家们,称这样的音乐是邪恶的;当贝多芬宏大的交响乐展现在人们的面前时,许多听众难以接受如此强烈的音响刺激;当瓦格纳的半音化和声使得调性模糊时,人们觉得它是晦涩与危险的;当斯特拉文斯基的《春之祭》首演时,人们则高呼“这是对人类一切审美原则的践踏”;当十二音、整体序列等等新音乐结构手法出现时,人们审美价值判断的根基彻底发生了动摇;当以《4′33″》为代表的“先锋音乐”“作品”出现时,人们已经无奈地对到底“什么是音乐”的问题无言以对了。
When third- and sixth-degree intervals appeared, conservative musicians said that such music was evil; many listeners were hard-pressed to accept such intense acoustics when Beethoven’s grand symphony was on display; as Wagner People feel it obscure and dangerous when they are blurred by the semitone vocal harmonies; when Stravinsky’s “Spring Festival” debut, people shout “It’s trampling on all the aesthetic principles of mankind When the 12th tone, the overall sequence and so on the new musical structure appears, the foundation of people’s aesthetic value judgments has completely shaken. When ”Pioneer Music“ ”Works“ represented by ”4’33“ People have been reluctantly right in the end ”what is music" speechless right.