蘇珊朗格的「情感與形式」是廿世紀的美學名著，全面表現了藝術符號學的精義，並且分析了各種藝術類型的特色。本論文以朗格的藝術符號學及音樂本體論為基礎，去探討她的音樂審美理論。在音樂創作方面，她特別重視音樂動機以掌握音樂的基本質，強調同化作用以保持音樂的純化。在音樂表演方面，她主張音樂表演是二度創作，表演者要內聽與外聽完美結合，並且充分發揮想像力，適當控制情感，才會有理想的表現。在音樂欣賞方面，她認為最重要的是要訓練音樂的耳朵，因此要專心聆賞音樂，並且多聽絕對音樂，少聽標題音樂，同時要重視直覺的作用。雖然她只把握重點而不詳論細節，但她的理論往往見解獨到，提供我們相當多的啟示，當然，她的一些局限，在本論文中也有所批評。

Susanne Langer's Feeling and Form, the aesthetic masterpiece of the twentieth century, completely expresses the essence of art symbology and analysizes the specialty of various art types. The study is based on Langer's art symbolism and musical substantialism to inquire into her theory of musical aesthetics. In music making, she particularly respects musical motives to grasp the musical matrix,emphasizes the process of assimilation to make music purification. In music performance, she affirms the performance is the creation of the second time. Performers demands to perfectly combine inward hearing with physical hearing, sufficiently display their imagination, well control their feeling, to make ideal performance. In music appreciation, she thinks all the most important things is to develop musical ear, so listeners require to devote their attention to listen music, listen more absolute music and less program music, and value the function of intution. She all holds the essentials and no details, but her theories often have original opinions to offer us much enlightement. Naturally, the author does remark on some limitations of her in this study, too.