1) To go through the main point, which constitutes an expression theory of art (and particularly music) in connexion with the emphasis put by this theory on the communicational character of art as expression (first part), questioning, at the same time, certain of its concepts and ideas, such as interiority, feeling, immediancy of experience, and trying to show that the symmetry presupposed between expression of the
author
’s intimate experience and the alleged reception of this same experience by the audience leads to the refute of
art
’s and aesthetics
’ autonomy (second part).
2) To examine the limitations of an expression-oriented aesthetic education (and in particular music-aesthetic education), which, by adopting a model of expression moving around the axe of art activity as expression, refutes itself as unique and autonomous educational field and repeats all the querries posed by the expression theory of art; to propose, as well, a possible alternate direction for an aesthetic education, focusing not only on expression but on critical perception and reflection too, drawing on relevant fields of study and music research, such as theory of music, criticism, history, and aesthetics (third part).