将音乐视作符号，是音乐符号学的基本理论前提。尽管不同的音乐符号学理论家都因看到了“音乐符号”的特殊性而在观念与研究方法上做出调整，并认识到了“感性直观”对于音乐审美的重要性，但依据他们对音乐所进行的逻辑化分析和论证，音乐显然还是需要在理性解读下方可被理解和认知的符号，音乐审美活动也由此被界定为一种符号化的理性认识活动。针对这种观念，论文指出：符号认识与音乐审美分属于两种不同性质的人类活动，符号以表意为本质，它的价值是工具性的，而音乐审美的本质是听觉的感性体验，音乐作为直观对象的价值是目的性的。音乐审美活动的直观性和目的性不应与符号思维的间接性和工具性混淆。这是在对音乐符号学理论进行研究与思考时需要注意的关键问题。

Regarding music as a type of sign is the basic theoretical premise of music semiotics.Although different theorists have adjusted their concepts and methods because of the particularity of “musical signs”and emphasized the significance of “aesthetic intuition” to music,music is,according to heir logical analysis of music, obviously still considered as a sign which needs to be understood and recognized under rational interpretation. Thus,music aesthetic activity is defined as a rational cognition activity via signs.In view of this perspective,this paper points out that the recognition of signs and the aesthetic intuition of music belong to two kinds of human activities with different natures.The value of signs is instrumental,while the essence of the aesthetic intuition of music is the directly experience of hearing,and the value of music as an intuitive object is purposeful. The intuitiveness and purposefulness of music aesthetic activity should not be confused with the indirectness and instrumentality of signifying thinking.This is the key issue that we need to pay attention to when we research and rethink about the theory of music semiotics.