做為音樂心理學與美學研究的內容，「音樂性」（德文寫作Musikalität，英文寫作Musicality）的議題自二十世紀初開始於德國展開科學性的研究以來，許多學者的研究內容與定義未曾使「音樂性」獲得確切的結果。音樂理論家與音樂心理學者把「音樂性」確立在音響和音樂音響的能力上，以及聽覺的和音樂的聽覺能力的學習上，例如在節奏辨別能力、絕對與相對音感、旋律或調性的辨識等。事實上，「音樂性」無法單獨從這些基礎的規範來確切描述。即使如此，這個名詞（或形容詞）從不曾在我們的生活當中消失，它除了是音樂天賦與音樂才能的指向性判斷，更是美學體驗的特徵。本文並非試圖為「音樂性」的定義與內涵做最終的界定，主要希冀透過音樂心理學與音樂美學的理論基礎，以及音樂學者的相關論文，以理解「音樂性」的可能性面向。

The term ‘Musicality' (Musikalität), as an abstract concept, is one of the study between psychology of music and aesthetic of music. Since the beginning of the 20th century in Germany, this concept has no concrete significance, many theorists and scholars deal with the ‘Musicality' that so-called acoustic and acoustic-musical capacities, such as the ability to discriminate rhythm and tonal. But we cannot use this criteria to gain a precise definition of ‘Musicality.' Nevertheless, this noun (or adjective) has ever disappear in our musical life, because it is not only judgement of diagnosis, but also characteristic of aesthetic.
The purpose of this paper is not clearly define the ultimate meaning and connotation of ‘Musicality.' This paper focused on the theory of psychology of music and aesthetic, and comprehending the multiple concepts of ‘Musicality.'