瞿小松的音乐作品中,多数都体现了虚静、空灵的境界。哲学美学上作曲家深入感悟道家和佛家思想,深得其中精髓,并反映在创作中。如道家的动静辩证观、佛家的色空不二观,都溶化在其音乐意味中。《寂Ⅰ》即典型一例。从心理学角度看,其作品符合听觉感知规律,用动态形式表现静态内涵,在变(动/丰富)与不变(静/统一)的临界点上分寸掌握得当,既遵循了音乐延展的规律,避免了听觉感知饱和/适应产生厌烦,又取得预期的空灵效果。他的“大传统”基础上的创新,具有启示意义。 Qu Xiaosong’s musical works, most of them reflect the virtual and ethereal realm. In philosophical aesthetics, the composer deeply comprehends the thoughts of Taoist and Buddhist, won the essence of it, and is reflected in the creation. Such as Taoist dialectical view of movement, the concept of the Buddha’s color, melts in its musical meaning. “Quiet I” is a typical case. From the perspective of psychology, his works conform to the law of auditory perception, represent the static connotation in a dynamic form, grasp the critical points of change (motion / enrichment) and invariance (static / unification), and follow the law of music extension , To avoid the auditory sense of saturation / adapt tired, but also to achieve the desired ethereal effect. His “big tradition” based on the innovation, with enlightenment significance.