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class="firstHeading mw-first-heading"><span class="mw-page-title-main">Absolute music</span></h1> <div id="p-lang-btn" class="vector-dropdown mw-portlet mw-portlet-lang" > <input type="checkbox" id="p-lang-btn-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-p-lang-btn" class="vector-dropdown-checkbox mw-interlanguage-selector" aria-label="Go to an article in another language. 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interwiki-ca mw-list-item"><a href="https://ca.wikipedia.org/wiki/M%C3%BAsica_absoluta" title="Música absoluta – Catalan" lang="ca" hreflang="ca" data-title="Música absoluta" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target"><span>Català</span></a></li><li class="interlanguage-link interwiki-cs mw-list-item"><a href="https://cs.wikipedia.org/wiki/Absolutn%C3%AD_hudba" title="Absolutní hudba – Czech" lang="cs" hreflang="cs" data-title="Absolutní hudba" data-language-autonym="Čeština" data-language-local-name="Czech" class="interlanguage-link-target"><span>Čeština</span></a></li><li class="interlanguage-link interwiki-da mw-list-item"><a href="https://da.wikipedia.org/wiki/Absolut_musik" title="Absolut musik – Danish" lang="da" hreflang="da" data-title="Absolut musik" data-language-autonym="Dansk" data-language-local-name="Danish" class="interlanguage-link-target"><span>Dansk</span></a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Absolute_Musik" title="Absolute Musik – German" lang="de" hreflang="de" data-title="Absolute Musik" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target"><span>Deutsch</span></a></li><li class="interlanguage-link interwiki-et mw-list-item"><a href="https://et.wikipedia.org/wiki/Absoluutne_muusika" title="Absoluutne muusika – Estonian" lang="et" hreflang="et" data-title="Absoluutne muusika" data-language-autonym="Eesti" data-language-local-name="Estonian" class="interlanguage-link-target"><span>Eesti</span></a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/M%C3%BAsica_absoluta" title="Música absoluta – Spanish" lang="es" hreflang="es" data-title="Música absoluta" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target"><span>Español</span></a></li><li class="interlanguage-link interwiki-eo mw-list-item"><a href="https://eo.wikipedia.org/wiki/Absoluta_muziko" title="Absoluta muziko – Esperanto" lang="eo" hreflang="eo" data-title="Absoluta muziko" data-language-autonym="Esperanto" data-language-local-name="Esperanto" class="interlanguage-link-target"><span>Esperanto</span></a></li><li class="interlanguage-link interwiki-fa mw-list-item"><a href="https://fa.wikipedia.org/wiki/%D9%85%D9%88%D8%B3%DB%8C%D9%82%DB%8C_%D9%85%D8%AD%D8%B6" title="موسیقی محض – Persian" lang="fa" hreflang="fa" data-title="موسیقی محض" data-language-autonym="فارسی" data-language-local-name="Persian" class="interlanguage-link-target"><span>فارسی</span></a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Musique_pure" title="Musique pure – French" lang="fr" hreflang="fr" data-title="Musique pure" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target"><span>Français</span></a></li><li class="interlanguage-link interwiki-gl mw-list-item"><a href="https://gl.wikipedia.org/wiki/M%C3%BAsica_absoluta" title="Música absoluta – Galician" lang="gl" hreflang="gl" data-title="Música absoluta" data-language-autonym="Galego" data-language-local-name="Galician" class="interlanguage-link-target"><span>Galego</span></a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/%EC%A0%88%EB%8C%80_%EC%9D%8C%EC%95%85" title="절대 음악 – Korean" lang="ko" hreflang="ko" data-title="절대 음악" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target"><span>한국어</span></a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Musica_assoluta" title="Musica assoluta – Italian" lang="it" hreflang="it" data-title="Musica assoluta" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target"><span>Italiano</span></a></li><li class="interlanguage-link interwiki-he mw-list-item"><a href="https://he.wikipedia.org/wiki/%D7%9E%D7%95%D7%96%D7%99%D7%A7%D7%94_%D7%90%D7%91%D7%A1%D7%95%D7%9C%D7%95%D7%98%D7%99%D7%AA" title="מוזיקה אבסולוטית – Hebrew" lang="he" hreflang="he" data-title="מוזיקה אבסולוטית" data-language-autonym="עברית" data-language-local-name="Hebrew" class="interlanguage-link-target"><span>עברית</span></a></li><li class="interlanguage-link interwiki-nl mw-list-item"><a href="https://nl.wikipedia.org/wiki/Absolute_muziek" title="Absolute muziek – Dutch" lang="nl" hreflang="nl" data-title="Absolute muziek" data-language-autonym="Nederlands" data-language-local-name="Dutch" class="interlanguage-link-target"><span>Nederlands</span></a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E7%B5%B6%E5%AF%BE%E9%9F%B3%E6%A5%BD" title="絶対音楽 – Japanese" lang="ja" hreflang="ja" data-title="絶対音楽" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target"><span>日本語</span></a></li><li class="interlanguage-link interwiki-no mw-list-item"><a href="https://no.wikipedia.org/wiki/Absolutt_musikk" title="Absolutt musikk – Norwegian Bokmål" lang="nb" hreflang="nb" data-title="Absolutt musikk" data-language-autonym="Norsk bokmål" data-language-local-name="Norwegian Bokmål" class="interlanguage-link-target"><span>Norsk bokmål</span></a></li><li class="interlanguage-link interwiki-nn mw-list-item"><a href="https://nn.wikipedia.org/wiki/Absolutt_musikk" title="Absolutt musikk – Norwegian Nynorsk" lang="nn" hreflang="nn" data-title="Absolutt musikk" data-language-autonym="Norsk nynorsk" data-language-local-name="Norwegian Nynorsk" class="interlanguage-link-target"><span>Norsk nynorsk</span></a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Muzyka_absolutna" title="Muzyka absolutna – Polish" lang="pl" hreflang="pl" data-title="Muzyka absolutna" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target"><span>Polski</span></a></li><li class="interlanguage-link interwiki-ro mw-list-item"><a href="https://ro.wikipedia.org/wiki/Muzic%C4%83_absolut%C4%83" title="Muzică absolută – Romanian" lang="ro" hreflang="ro" data-title="Muzică absolută" data-language-autonym="Română" data-language-local-name="Romanian" class="interlanguage-link-target"><span>Română</span></a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%90%D0%B1%D1%81%D0%BE%D0%BB%D1%8E%D1%82%D0%BD%D0%B0%D1%8F_%D0%BC%D1%83%D0%B7%D1%8B%D0%BA%D0%B0" title="Абсолютная музыка – Russian" lang="ru" hreflang="ru" data-title="Абсолютная музыка" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target"><span>Русский</span></a></li><li class="interlanguage-link interwiki-sk mw-list-item"><a href="https://sk.wikipedia.org/wiki/Absol%C3%BAtna_hudba" title="Absolútna hudba – Slovak" lang="sk" hreflang="sk" data-title="Absolútna hudba" data-language-autonym="Slovenčina" data-language-local-name="Slovak" class="interlanguage-link-target"><span>Slovenčina</span></a></li><li class="interlanguage-link interwiki-sr mw-list-item"><a href="https://sr.wikipedia.org/wiki/%D0%90%D0%BF%D1%81%D0%BE%D0%BB%D1%83%D1%82%D0%BD%D0%B0_%D0%BC%D1%83%D0%B7%D0%B8%D0%BA%D0%B0" title="Апсолутна музика – Serbian" lang="sr" hreflang="sr" data-title="Апсолутна музика" data-language-autonym="Српски / srpski" data-language-local-name="Serbian" class="interlanguage-link-target"><span>Српски / srpski</span></a></li><li class="interlanguage-link interwiki-sh mw-list-item"><a href="https://sh.wikipedia.org/wiki/Apsolutna_muzika" title="Apsolutna muzika – Serbo-Croatian" lang="sh" hreflang="sh" data-title="Apsolutna muzika" data-language-autonym="Srpskohrvatski / српскохрватски" data-language-local-name="Serbo-Croatian" class="interlanguage-link-target"><span>Srpskohrvatski / српскохрватски</span></a></li><li class="interlanguage-link interwiki-fi mw-list-item"><a href="https://fi.wikipedia.org/wiki/Absoluuttinen_musiikki" title="Absoluuttinen musiikki – Finnish" lang="fi" hreflang="fi" data-title="Absoluuttinen musiikki" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target"><span>Suomi</span></a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Absolut_musik" title="Absolut musik – Swedish" lang="sv" hreflang="sv" data-title="Absolut musik" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target"><span>Svenska</span></a></li><li class="interlanguage-link interwiki-uk mw-list-item"><a href="https://uk.wikipedia.org/wiki/%D0%90%D0%B1%D1%81%D0%BE%D0%BB%D1%8E%D1%82%D0%BD%D0%B0_%D0%BC%D1%83%D0%B7%D0%B8%D0%BA%D0%B0" title="Абсолютна музика – Ukrainian" lang="uk" 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<div class="mw-indicators"> </div> <div id="siteSub" class="noprint">From Wikipedia, the free encyclopedia</div> </div> <div id="contentSub"><div id="mw-content-subtitle"></div></div> <div id="mw-content-text" class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Music that is non-representational</div> <style data-mw-deduplicate="TemplateStyles:r1251242444">.mw-parser-output .ambox{border:1px solid #a2a9b1;border-left:10px solid #36c;background-color:#fbfbfb;box-sizing:border-box}.mw-parser-output .ambox+link+.ambox,.mw-parser-output .ambox+link+style+.ambox,.mw-parser-output .ambox+link+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+style+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+link+.ambox{margin-top:-1px}html body.mediawiki .mw-parser-output .ambox.mbox-small-left{margin:4px 1em 4px 0;overflow:hidden;width:238px;border-collapse:collapse;font-size:88%;line-height:1.25em}.mw-parser-output .ambox-speedy{border-left:10px solid #b32424;background-color:#fee7e6}.mw-parser-output .ambox-delete{border-left:10px solid #b32424}.mw-parser-output .ambox-content{border-left:10px solid #f28500}.mw-parser-output .ambox-style{border-left:10px solid #fc3}.mw-parser-output .ambox-move{border-left:10px solid #9932cc}.mw-parser-output .ambox-protection{border-left:10px solid #a2a9b1}.mw-parser-output .ambox .mbox-text{border:none;padding:0.25em 0.5em;width:100%}.mw-parser-output .ambox .mbox-image{border:none;padding:2px 0 2px 0.5em;text-align:center}.mw-parser-output .ambox .mbox-imageright{border:none;padding:2px 0.5em 2px 0;text-align:center}.mw-parser-output .ambox .mbox-empty-cell{border:none;padding:0;width:1px}.mw-parser-output .ambox .mbox-image-div{width:52px}@media(min-width:720px){.mw-parser-output .ambox{margin:0 10%}}@media print{body.ns-0 .mw-parser-output .ambox{display:none!important}}</style><table class="box-More_citations_needed plainlinks metadata ambox ambox-content ambox-Refimprove" role="presentation"><tbody><tr><td class="mbox-image"><div class="mbox-image-div"><span typeof="mw:File"><a href="/wiki/File:Question_book-new.svg" class="mw-file-description"><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/9/99/Question_book-new.svg/50px-Question_book-new.svg.png" decoding="async" width="50" height="39" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/9/99/Question_book-new.svg/75px-Question_book-new.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/9/99/Question_book-new.svg/100px-Question_book-new.svg.png 2x" data-file-width="512" data-file-height="399" /></a></span></div></td><td class="mbox-text"><div class="mbox-text-span">This article <b>needs additional citations for <a href="/wiki/Wikipedia:Verifiability" title="Wikipedia:Verifiability">verification</a></b>.<span class="hide-when-compact"> Please help <a href="/wiki/Special:EditPage/Absolute_music" title="Special:EditPage/Absolute music">improve this article</a> by <a href="/wiki/Help:Referencing_for_beginners" title="Help:Referencing for beginners">adding citations to reliable sources</a>. Unsourced material may be challenged and removed.<br /><small><span class="plainlinks"><i>Find sources:</i> <a rel="nofollow" class="external text" href="https://www.google.com/search?as_eq=wikipedia&q=%22Absolute+music%22">"Absolute music"</a> – <a rel="nofollow" class="external text" href="https://www.google.com/search?tbm=nws&q=%22Absolute+music%22+-wikipedia&tbs=ar:1">news</a> <b>·</b> <a rel="nofollow" class="external text" href="https://www.google.com/search?&q=%22Absolute+music%22&tbs=bkt:s&tbm=bks">newspapers</a> <b>·</b> <a rel="nofollow" class="external text" href="https://www.google.com/search?tbs=bks:1&q=%22Absolute+music%22+-wikipedia">books</a> <b>·</b> <a rel="nofollow" class="external text" href="https://scholar.google.com/scholar?q=%22Absolute+music%22">scholar</a> <b>·</b> <a rel="nofollow" class="external text" href="https://www.jstor.org/action/doBasicSearch?Query=%22Absolute+music%22&acc=on&wc=on">JSTOR</a></span></small></span> <span class="date-container"><i>(<span class="date">April 2009</span>)</i></span><span class="hide-when-compact"><i> (<small><a href="/wiki/Help:Maintenance_template_removal" title="Help:Maintenance template removal">Learn how and when to remove this message</a></small>)</i></span></div></td></tr></tbody></table> <p><b>Absolute music</b> (sometimes <b>abstract music</b>) is music that is not explicitly "about" anything; in contrast to <a href="/wiki/Program_music" title="Program music">program music</a>, it is non-<a href="/wiki/Representation_(arts)" title="Representation (arts)">representational</a>.<sup id="cite_ref-horowitz_1-0" class="reference"><a href="#cite_note-horowitz-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> The idea of absolute music developed at the end of the 18th century in the writings of authors of early <a href="/wiki/German_Romanticism" title="German Romanticism">German Romanticism</a>, such as <a href="/wiki/Wilhelm_Heinrich_Wackenroder" title="Wilhelm Heinrich Wackenroder">Wilhelm Heinrich Wackenroder</a>, <a href="/wiki/Ludwig_Tieck" title="Ludwig Tieck">Ludwig Tieck</a> and <a href="/wiki/E._T._A._Hoffmann" title="E. T. A. Hoffmann">E. T. A. Hoffmann</a> but the term was not coined until 1846 where it was first used by <a href="/wiki/Richard_Wagner" title="Richard Wagner">Richard Wagner</a> in a programme to <a href="/wiki/Beethoven%27s_Ninth_Symphony" class="mw-redirect" title="Beethoven's Ninth Symphony">Beethoven's Ninth Symphony</a>.<sup id="cite_ref-horowitz_1-1" class="reference"><a href="#cite_note-horowitz-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </p><p>The aesthetic ideas underlying absolute music derive from debates over the relative value of what was known in the early years of <a href="/wiki/Aesthetics" title="Aesthetics">aesthetic theory</a> as the fine arts. <a href="/wiki/Immanuel_Kant" title="Immanuel Kant">Kant</a>, in his <i><a href="/wiki/Critique_of_Aesthetic_Judgment" class="mw-redirect" title="Critique of Aesthetic Judgment">Critique of Judgment</a></i>, dismissed music as "more a matter of enjoyment than culture" and "less worth in the judgement of reason than any other of the fine arts"<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> because of its lack of conceptual content, thus treating as a deficit the very feature of music that others celebrated. <a href="/wiki/Johann_Gottfried_Herder" title="Johann Gottfried Herder">Johann Gottfried Herder</a>, in contrast, regarded music as the highest of the arts because of its spirituality, which Herder attributed to the invisibility of sound.<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> The ensuing arguments among musicians, composers, music historians and critics continue today. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Romantic_debate">Romantic debate</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Absolute_music&action=edit&section=1" title="Edit section: Romantic debate"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>A group of <a href="/wiki/Romanticism" title="Romanticism">Romantics</a> consisting of <a href="/wiki/Johann_Gottfried_Herder" title="Johann Gottfried Herder">Johann Gottfried Herder</a>, <a href="/wiki/Johann_Wolfgang_Goethe" class="mw-redirect" title="Johann Wolfgang Goethe">Johann Wolfgang Goethe</a>, <a href="/wiki/Jean_Paul_Richter" title="Jean Paul Richter">Jean Paul Richter</a> and <a href="/wiki/E.T.A._Hoffmann" class="mw-redirect" title="E.T.A. Hoffmann">E.T.A. Hoffmann</a> gave rise to the idea of what can be labeled as "spiritual absolutism".<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> In this respect, instrumental music transcends other arts and languages to become the discourse of a 'higher realm', an idea expressed in Hoffmann's review of Beethoven's 5th Symphony, published in 1813.<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> These thinkers believed that music could be more emotionally powerful and stimulating without words. According to Richter, music would eventually 'outlast' the word.<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Formalist_debate">Formalist debate</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Absolute_music&action=edit&section=2" title="Edit section: Formalist debate"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Formalism is the concept of music for music's sake, or that music's 'meaning' is entirely in its form. In this respect, music has no extra-musical meaning at all and is enjoyed by appreciation of its formal structure and technical construction.<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> The 19th century music critic <a href="/wiki/Eduard_Hanslick" title="Eduard Hanslick">Eduard Hanslick</a> argued that music could be enjoyed as pure sound and form, and that it needed no connotation of extra-musical elements to warrant its existence. He argued that in fact, these extra-musical ideas and images detracted from the beauty of the music. </p> <style data-mw-deduplicate="TemplateStyles:r1244412712">.mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 32px}.mw-parser-output .templatequotecite{line-height:1.5em;text-align:left;margin-top:0}@media(min-width:500px){.mw-parser-output .templatequotecite{padding-left:1.6em}}</style><blockquote class="templatequote"><p>Music has no subject beyond the combinations of notes we hear, for music speaks not only by means of sounds, it speaks nothing but sound.</p><div class="templatequotecite">— <cite>Eduard Hanslick<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup></cite></div></blockquote> <p>Formalism therefore rejected genres such as <a href="/wiki/Opera" title="Opera">opera</a>, <a href="/wiki/Song" title="Song">song</a> and <a href="/wiki/Symphonic_poem" title="Symphonic poem">tone poems</a> as they conveyed explicit meanings or programmatic imagery. Symphonic forms were considered more aesthetically pure. (The choral finale of <a href="/wiki/Beethoven" class="mw-redirect" title="Beethoven">Beethoven</a>'s Ninth Symphony, as well as the programmatic <a href="/wiki/Symphony_No._6_(Beethoven)" title="Symphony No. 6 (Beethoven)">Sixth Symphony</a>, became problematic to formalist critics who had championed the composer as a pioneer of the Absolute, especially with the late Beethoven string quartets). <a href="/wiki/Carl_Dahlhaus" title="Carl Dahlhaus">Carl Dahlhaus</a> described absolute music as music without a "concept, object, and purpose".<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Opposition_and_objections_to_absolute_music">Opposition and objections to absolute music</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Absolute_music&action=edit&section=3" title="Edit section: Opposition and objections to absolute music"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p><a href="/wiki/Richard_Wagner" title="Richard Wagner">Richard Wagner</a> was a vocal opponent of absolute music, a phrase he coined.<sup id="cite_ref-11" class="reference"><a href="#cite_note-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> Wagner considered the choral finale of <a href="/wiki/Beethoven" class="mw-redirect" title="Beethoven">Beethoven</a>'s Ninth Symphony to be the proof that music works better with words, famously saying: "Where music can go no further, there comes the word ... the word stands higher than the tone."<sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> Wagner also called Beethoven's Ninth Symphony the death knell of the symphony, for he was far more interested in combining all forms of art with his <span title="German-language text"><i lang="de"><a href="/wiki/Gesamtkunstwerk" title="Gesamtkunstwerk">Gesamtkunstwerk</a></i></span>. </p> <div class="mw-heading mw-heading2"><h2 id="Contemporary_views">Contemporary views</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Absolute_music&action=edit&section=4" title="Edit section: Contemporary views"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Today, the debate continues over whether music has, or ought to have, extramusical meaning or not. However, most contemporary views<sup class="noprint Inline-Template" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Avoid_weasel_words" class="mw-redirect" title="Wikipedia:Avoid weasel words"><span title="The material near this tag possibly uses too vague attribution or weasel words. (July 2022)">which?</span></a></i>]</sup>, reflecting ideas emerging from views of subjectivity in <a href="/wiki/Linguistic_meaning" class="mw-redirect" title="Linguistic meaning">linguistic meaning</a> arising in <a href="/wiki/Cognitive_linguistics" title="Cognitive linguistics">cognitive linguistics</a>, as well as <a href="/wiki/Thomas_Kuhn" title="Thomas Kuhn">Kuhn</a>'s work on cultural biases in science and other ideas on meaning and <a href="/wiki/Aesthetics" title="Aesthetics">aesthetics</a> (e.g. <a href="/wiki/Wittgenstein" class="mw-redirect" title="Wittgenstein">Wittgenstein</a> on cultural constructions in thought and language<sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup>), appear to be moving towards a consensus that music provides at least some <a href="/wiki/Sign_(semiotics)" title="Sign (semiotics)">signification</a> or meaning, in terms of which it is <i>understood</i>. </p><p>The cultural bases of musical understanding have been highlighted in <a href="/wiki/Philip_Bohlman" class="mw-redirect" title="Philip Bohlman">Philip Bohlman</a>'s work, who considers music as a form of cultural communication: </p> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712" /><blockquote class="templatequote"><p>There are those who believe that music represents nothing other than itself. I argue that we are constantly giving it new and different abilities to represent who we are.<sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup></p></blockquote> <p>Bohlman has gone on to argue that the use of music, e.g. among the <a href="/wiki/Jewish_diaspora" title="Jewish diaspora">Jewish diaspora</a>, was in fact a form of <i>identity building</i>. </p><p><a href="/wiki/Susan_McClary" title="Susan McClary">Susan McClary</a> has criticised the notion of 'absolute music', arguing that all music, whether explicitly programmatic or not, contains implicit programs that reflect the tastes, politics, aesthetic philosophies and social attitudes of the composer and their historical situation. Such scholars would argue that classical music is rarely about nothing, but reflects aesthetic tastes that are themselves influenced by culture, politics and philosophy. Composers are often bound up in a web of tradition and influence, in which they strive to consciously situate themselves in relation to other composers and styles.<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Lawrence_Kramer_(musicologist)" title="Lawrence Kramer (musicologist)">Lawrence Kramer</a>, on the other hand, believes music has no means to reserve a "specific layer or pocket for meaning. Once it has been brought into sustainable connection with a structure of prejudgment, music simply becomes meaningful."<sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> </p><p>Music which appears to demand an interpretation, but is abstract enough to warrant objectivity (e.g. <a href="/wiki/Tchaikovsky" class="mw-redirect" title="Tchaikovsky">Tchaikovsky</a>'s 6th Symphony), is what <a href="/wiki/Lydia_Goehr" title="Lydia Goehr">Lydia Goehr</a> refers to as "double-sided autonomy".<sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> This happens when the formalist properties of music became attractive to composers because, having no meaning to speak of, music could be used to envision an alternative cultural and/or political order, while escaping the scrutiny of the censor. </p> <div class="mw-heading mw-heading3"><h3 id="Linguistic_meaning">Linguistic meaning</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Absolute_music&action=edit&section=5" title="Edit section: Linguistic meaning"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>On the topic of musical meaning, <a href="/wiki/Wittgenstein" class="mw-redirect" title="Wittgenstein">Wittgenstein</a>, at several points in his late diary <i>Culture and Value</i>,<sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> ascribes meaning to music, for instance, that in the finale, a conclusion is being drawn, e.g.: </p> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712" /><blockquote class="templatequote"><p>[One] can point to particular places in a tune by Schubert and say: look, that is the point of the tune, this is where the thought comes to a head.</p></blockquote> <p><a href="/wiki/Jerrold_Levinson" title="Jerrold Levinson">Jerrold Levinson</a> has drawn extensively on Wittgenstein to comment: </p> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712" /><blockquote class="templatequote"><p>Intelligible music stands to literal thinking in precisely the same relation as does intelligible verbal discourse. If that relation be not exemplification but instead, say, expression, then music and language are, at any rate, in the same, and quite comfortable, boat.<sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup></p></blockquote> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Absolute_music&action=edit&section=6" title="Edit section: See also"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a href="/wiki/Abstract_art#Music" title="Abstract art">Abstract art § Music</a></li> <li><a href="/wiki/Art_music" title="Art music">Art music</a></li> <li><a href="/wiki/Gebrauchsmusik" title="Gebrauchsmusik">Gebrauchsmusik</a></li> <li><a href="/wiki/Impressionist_music" class="mw-redirect" title="Impressionist music">Impressionist music</a></li> <li><a href="/wiki/Musique_concr%C3%A8te" title="Musique concrète">Musique concrète</a> ("Concrete music")</li></ul> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Absolute_music&action=edit&section=7" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-horowitz-1"><span class="mw-cite-backlink">^ <a href="#cite_ref-horowitz_1-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-horowitz_1-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">M. C. Horowitz (ed.), <i>New Dictionary of the History of Ideas</i>, <style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-684-31377-4" title="Special:BookSources/0-684-31377-4">0-684-31377-4</a>, Vol. 1, p. 5</span> </li> <li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFDahlhaus1991" class="citation book cs1">Dahlhaus, Carl (1991). <i>The Idea of Absolute Music</i>. University of Chicago Press. p. 18.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Idea+of+Absolute+Music&rft.pages=18&rft.pub=University+of+Chicago+Press&rft.date=1991&rft.aulast=Dahlhaus&rft.aufirst=Carl&rfr_id=info%3Asid%2Fen.wikipedia.org%3AAbsolute+music" class="Z3988"></span></span> </li> <li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFKant1790" class="citation book cs1">Kant, Immanuel (1790). Walker, Nicholas (ed.). <i>Critique of Judgement</i>. Translated by Meredith, James Creed (2nd ed.). United States: Oxford University Press (published 2007). pp. <span class="nowrap">156–</span>7. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-19-280617-8" title="Special:BookSources/978-0-19-280617-8"><bdi>978-0-19-280617-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Critique+of+Judgement&rft.place=United+States&rft.pages=%3Cspan+class%3D%22nowrap%22%3E156-%3C%2Fspan%3E7&rft.edition=2nd&rft.pub=Oxford+University+Press&rft.date=1790&rft.isbn=978-0-19-280617-8&rft.aulast=Kant&rft.aufirst=Immanuel&rfr_id=info%3Asid%2Fen.wikipedia.org%3AAbsolute+music" class="Z3988"></span></span> </li> <li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFRothfarb2011" class="citation journal cs1">Rothfarb, Lee (2011). <a rel="nofollow" class="external text" href="https://doi.org/10.1215%2F00222909-1540347">"Nineteenth-Century Fortunes of Musical Formalism"</a>. <i>Journal of Music Theory</i>. <b>55</b> (2): <span class="nowrap">167–</span>220. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<span class="id-lock-free" title="Freely accessible"><a rel="nofollow" class="external text" href="https://doi.org/10.1215%2F00222909-1540347">10.1215/00222909-1540347</a></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Journal+of+Music+Theory&rft.atitle=Nineteenth-Century+Fortunes+of+Musical+Formalism&rft.volume=55&rft.issue=2&rft.pages=%3Cspan+class%3D%22nowrap%22%3E167-%3C%2Fspan%3E220&rft.date=2011&rft_id=info%3Adoi%2F10.1215%2F00222909-1540347&rft.aulast=Rothfarb&rft.aufirst=Lee&rft_id=https%3A%2F%2Fdoi.org%2F10.1215%252F00222909-1540347&rfr_id=info%3Asid%2Fen.wikipedia.org%3AAbsolute+music" class="Z3988"></span></span> </li> <li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFElkoshi2019" class="citation journal cs1">Elkoshi, Rivka (August 2019). <a rel="nofollow" class="external text" href="http://journals.sagepub.com/doi/10.1177/0255761419850247">"Tone painting and painting tones: A follow-up study of listeners' audiovisual responses to Beethoven's Thunder Storm"</a>. <i>International Journal of Music Education</i>. <b>37</b> (3): <span class="nowrap">476–</span>492. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1177%2F0255761419850247">10.1177/0255761419850247</a>. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0255-7614">0255-7614</a> – via Sage.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=International+Journal+of+Music+Education&rft.atitle=Tone+painting+and+painting+tones%3A+A+follow-up+study+of+listeners%E2%80%99+audiovisual+responses+to+Beethoven%E2%80%99s+Thunder+Storm&rft.volume=37&rft.issue=3&rft.pages=%3Cspan+class%3D%22nowrap%22%3E476-%3C%2Fspan%3E492&rft.date=2019-08&rft_id=info%3Adoi%2F10.1177%2F0255761419850247&rft.issn=0255-7614&rft.aulast=Elkoshi&rft.aufirst=Rivka&rft_id=http%3A%2F%2Fjournals.sagepub.com%2Fdoi%2F10.1177%2F0255761419850247&rfr_id=info%3Asid%2Fen.wikipedia.org%3AAbsolute+music" class="Z3988"></span></span> </li> <li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFWrightSimms2009" class="citation book cs1">Wright, Craig; Simms, Bryan (February 27, 2009). <a rel="nofollow" class="external text" href="https://www.cengage.com/music/book_content/049557273X_wrightSimms_DEMO/assets/ITOW/7273X_INT_07_ITOW_Hoffmann.pdf">"E. T. A. Hoffmann, "Beethoven's Instrumental Music" (1813)"</a> <span class="cs1-format">(PDF)</span>. <i>Music in Western Civilization</i> (1st ed.). Cengage Learning. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-495-57273-2" title="Special:BookSources/978-0-495-57273-2"><bdi>978-0-495-57273-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=E.+T.+A.+Hoffmann%2C+%E2%80%9CBeethoven%E2%80%99s+Instrumental+Music%E2%80%9D+%281813%29&rft.btitle=Music+in+Western+Civilization&rft.edition=1st&rft.pub=Cengage+Learning&rft.date=2009-02-27&rft.isbn=978-0-495-57273-2&rft.aulast=Wright&rft.aufirst=Craig&rft.au=Simms%2C+Bryan&rft_id=https%3A%2F%2Fwww.cengage.com%2Fmusic%2Fbook_content%2F049557273X_wrightSimms_DEMO%2Fassets%2FITOW%2F7273X_INT_07_ITOW_Hoffmann.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3AAbsolute+music" class="Z3988"></span></span> </li> <li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFElkoshi2019" class="citation journal cs1">Elkoshi, Rivka (August 2019). <a rel="nofollow" class="external text" href="http://journals.sagepub.com/doi/10.1177/0255761419850247">"Tone painting and painting tones: A follow-up study of listeners' audiovisual responses to Beethoven's Thunder Storm"</a>. <i>International Journal of Music Education</i>. <b>37</b> (3): <span class="nowrap">476–</span>492. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1177%2F0255761419850247">10.1177/0255761419850247</a>. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0255-7614">0255-7614</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=International+Journal+of+Music+Education&rft.atitle=Tone+painting+and+painting+tones%3A+A+follow-up+study+of+listeners%E2%80%99+audiovisual+responses+to+Beethoven%E2%80%99s+Thunder+Storm&rft.volume=37&rft.issue=3&rft.pages=%3Cspan+class%3D%22nowrap%22%3E476-%3C%2Fspan%3E492&rft.date=2019-08&rft_id=info%3Adoi%2F10.1177%2F0255761419850247&rft.issn=0255-7614&rft.aulast=Elkoshi&rft.aufirst=Rivka&rft_id=http%3A%2F%2Fjournals.sagepub.com%2Fdoi%2F10.1177%2F0255761419850247&rfr_id=info%3Asid%2Fen.wikipedia.org%3AAbsolute+music" class="Z3988"></span></span> </li> <li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFKivy2002" class="citation book cs1">Kivy, Peter (2002). <i>Introduction to a Philosophy of Music</i> (1st ed.). New York: Clarendon Press. pp. <span class="nowrap">23–</span>24. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-19-825048-7" title="Special:BookSources/978-0-19-825048-7"><bdi>978-0-19-825048-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Introduction+to+a+Philosophy+of+Music&rft.place=New+York&rft.pages=%3Cspan+class%3D%22nowrap%22%3E23-%3C%2Fspan%3E24&rft.edition=1st&rft.pub=Clarendon+Press&rft.date=2002&rft.isbn=978-0-19-825048-7&rft.aulast=Kivy&rft.aufirst=Peter&rfr_id=info%3Asid%2Fen.wikipedia.org%3AAbsolute+music" class="Z3988"></span></span> </li> <li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text">Quoted in the <a href="/wiki/Liner_notes" title="Liner notes">liner notes</a> to the <a href="/wiki/Juilliard_String_Quartet" title="Juilliard String Quartet">Juilliard String Quartet</a>'s <i>Intimate Letters</i>. Sony Classical SK 66840.</span> </li> <li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFBacci,_FrancescaMelcher,_David2011" class="citation book cs1">Bacci, Francesca; Melcher, David (2011). <i>Art and the Senses</i>. Oxford University Press. p. 253. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-19-923060-0" title="Special:BookSources/978-0-19-923060-0"><bdi>978-0-19-923060-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Art+and+the+Senses&rft.pages=253&rft.pub=Oxford+University+Press&rft.date=2011&rft.isbn=978-0-19-923060-0&rft.au=Bacci%2C+Francesca&rft.au=Melcher%2C+David&rfr_id=info%3Asid%2Fen.wikipedia.org%3AAbsolute+music" class="Z3988"></span></span> </li> <li id="cite_note-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-11">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFBonds2014" class="citation book cs1">Bonds, Mark Evan (2014). <i>Absolute Music: The History of an Idea</i>. New York, NY: Oxford University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-19-934365-2" title="Special:BookSources/978-0-19-934365-2"><bdi>978-0-19-934365-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Absolute+Music%3A+The+History+of+an+Idea&rft.place=New+York%2C+NY&rft.pub=Oxford+University+Press&rft.date=2014&rft.isbn=978-0-19-934365-2&rft.aulast=Bonds&rft.aufirst=Mark+Evan&rfr_id=info%3Asid%2Fen.wikipedia.org%3AAbsolute+music" class="Z3988"></span></span> </li> <li id="cite_note-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-12">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFGoehr1998" class="citation book cs1">Goehr, Lydia (1998). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=JE4h5YAIftYC&pg=PA112"><i>The Quest for Voice: On Music, Politics, and the Limits of Philosophy: the 1997 Ernest Bloch Lectures</i></a>. University of California Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-520-21412-5" title="Special:BookSources/978-0-520-21412-5"><bdi>978-0-520-21412-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Quest+for+Voice%3A+On+Music%2C+Politics%2C+and+the+Limits+of+Philosophy%3A+the+1997+Ernest+Bloch+Lectures&rft.pub=University+of+California+Press&rft.date=1998&rft.isbn=978-0-520-21412-5&rft.aulast=Goehr&rft.aufirst=Lydia&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DJE4h5YAIftYC%26pg%3DPA112&rfr_id=info%3Asid%2Fen.wikipedia.org%3AAbsolute+music" class="Z3988"></span></span> </li> <li id="cite_note-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-13">^</a></b></span> <span class="reference-text"> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFBéla_Szabados2004" class="citation journal cs1">Béla Szabados (Fall 2004). <a rel="nofollow" class="external text" href="https://www.uqtr.ca/AE/Vol_10/wittgenstein/szabados.htm">"Wittgenstein the Musical: Notes toward an Appreciation"</a>. <i>Canadian Aesthetics Journal</i>. <b>10</b>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Canadian+Aesthetics+Journal&rft.atitle=Wittgenstein+the+Musical%3A+Notes+toward+an+Appreciation&rft.ssn=fall&rft.volume=10&rft.date=2004&rft.au=B%C3%A9la+Szabados&rft_id=https%3A%2F%2Fwww.uqtr.ca%2FAE%2FVol_10%2Fwittgenstein%2Fszabados.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3AAbsolute+music" class="Z3988"></span></span> </li> <li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text"> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFShula_Neuman1998" class="citation journal cs1">Shula Neuman (April 2, 1998). <a rel="nofollow" class="external text" href="http://chronicle.uchicago.edu/980402/bohlman.shtml">"The Meaning of Music"</a>. <i>The University of Chicago Chronicle</i>: Vol. 17, No. 13.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+University+of+Chicago+Chronicle&rft.atitle=The+Meaning+of+Music&rft.pages=Vol.+17%2C+No.+13&rft.date=1998-04-02&rft.au=Shula+Neuman&rft_id=http%3A%2F%2Fchronicle.uchicago.edu%2F980402%2Fbohlman.shtml&rfr_id=info%3Asid%2Fen.wikipedia.org%3AAbsolute+music" class="Z3988"></span></span> </li> <li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text">McClary, Susan (1993). "Narrative Agendas in 'Absolute' Music: Identity and Difference in Brahms's Third Symphony". In Solie, Ruth A. (ed.). <i>Musicology and Difference</i>. University of California Press. pp. 326-44</span> </li> <li id="cite_note-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-16">^</a></b></span> <span class="reference-text">Kramer, Lawrence (2013). "Subjectivity Rampant!: Music, Hermeneutics, and History". In Clayton, Martin et. al. (ed.). <i>The Cultural Study of Music: An Introduction.</i> Routledge. p. 133.</span> </li> <li id="cite_note-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-17">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFGoehr1992" class="citation book cs1">Goehr, Lydia (1992). <i>The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music</i> (1st ed.). New York: Clarendon Press. p. 211. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-19-823541-0" title="Special:BookSources/0-19-823541-0"><bdi>0-19-823541-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Imaginary+Museum+of+Musical+Works%3A+An+Essay+in+the+Philosophy+of+Music&rft.place=New+York&rft.pages=211&rft.edition=1st&rft.pub=Clarendon+Press&rft.date=1992&rft.isbn=0-19-823541-0&rft.aulast=Goehr&rft.aufirst=Lydia&rfr_id=info%3Asid%2Fen.wikipedia.org%3AAbsolute+music" class="Z3988"></span></span> </li> <li id="cite_note-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-18">^</a></b></span> <span class="reference-text"> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFLudwig_Wittgenstein1944" class="citation book cs1"><a href="/wiki/Ludwig_Wittgenstein" title="Ludwig Wittgenstein">Ludwig Wittgenstein</a> (1944). <i>Vermischte Bemerkungen</i> [<i><a href="/wiki/Culture_and_Value" title="Culture and Value">Culture and Value</a></i>]. Translated by Peter Winch. p. 47.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Vermischte+Bemerkungen&rft.pages=47&rft.date=1944&rft.au=Ludwig+Wittgenstein&rfr_id=info%3Asid%2Fen.wikipedia.org%3AAbsolute+music" class="Z3988"></span></span> </li> <li id="cite_note-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-19">^</a></b></span> <span class="reference-text"> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFMusical_Thinking2003" class="citation journal cs1">Musical Thinking (Fall 2003). <a rel="nofollow" class="external text" href="http://www.musicandmeaning.net/issues/showArticle.php?artID=1.2">"Jerrold Levinson"</a>. <i>Journal of Music and Meaning</i>: vol. 1, section 2.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Journal+of+Music+and+Meaning&rft.atitle=Jerrold+Levinson&rft.ssn=fall&rft.pages=vol.+1%2C+section+2&rft.date=2003&rft.au=Musical+Thinking&rft_id=http%3A%2F%2Fwww.musicandmeaning.net%2Fissues%2FshowArticle.php%3FartID%3D1.2&rfr_id=info%3Asid%2Fen.wikipedia.org%3AAbsolute+music" class="Z3988"></span></span> </li> </ol></div></div> <div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Absolute_music&action=edit&section=8" title="Edit section: Further reading"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li>Chua, Daniel Absolute Music and the Construction of Meaning (Cambridge University Press, 1999)</li> <li>Cook, Nicholas Music: A Very Short Introduction (Oxford University Press, 1998)</li> <li>Dahlhaus, Carl The Idea of Absolute Music trans. by Roger Lustig (Chicago/London 1989; orig. Kassel, 1978)</li> <li>Goehr, Lydia The Imaginary Museum of Musical Works (Clarendon Press, Oxford, 1992)</li> <li>Kivy, Peter ‘Absolute Music’ and the ‘New Musicology’ in Musicology and Sister Disciplines. Past, Present, Future. Proceedings of the 16th International Congress of the International Musicological Society, London 1997 ed. D. Greer, I. Rumbold and J. King (Oxford, 2000)</li> <li>Kramer, Lawrence Subjectivity Rampant! Music, Hermeneutics, and History in The Cultural Study of Music. A Critical Introduction ed. M. Clayton, T. Herbert and R. Middleton (New York and London, 2003)</li> <li><a rel="nofollow" class="external text" href="https://www.m5music.hk/en/dictionary/absolute-music/">Absolute Music | Definition & Meaning | M5 Music</a> - <a rel="nofollow" class="external text" href="https://www.m5music.hk/en/">M5 Music</a></li> <li><a rel="nofollow" class="external text" href="http://f4.filecrunch.com/files/20080508/8d048f2b99b27febeb1aad87e412a5b8/Absolute%20music%20in%20Oxford%20Music%20Online.pdf">Scruton, Roger. "Absolute music." Grove Music Online. Oxford Music Online.</a><sup class="noprint Inline-Template"><span style="white-space: nowrap;">[<i><a href="/wiki/Wikipedia:Link_rot" title="Wikipedia:Link rot"><span title=" Dead link tagged October 2016">permanent dead link</span></a></i><span style="visibility:hidden; color:transparent; padding-left:2px">‍</span>]</span></sup></li> <li>Williams, Alastair Constructing Musicology (Ashgate Publishing Ltd., Aldershot, Hampshire, 2001)</li> <li>Wolff, Janet The ideology of autonomous art, in: Music and Society in The Politics of Composition, Performance and Reception ed. R. Leppert and S. McClary (Cambridge, 1987)</li> <li>Young, James O. Critique of Pure Music (Oxford University Press, 2014)</li></ul> <div class="navbox-styles"><style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline ol,.mw-parser-output .hlist.inline ul,.mw-parser-output .hlist dl dl,.mw-parser-output .hlist dl ol,.mw-parser-output .hlist dl ul,.mw-parser-output .hlist ol dl,.mw-parser-output .hlist ol ol,.mw-parser-output .hlist ol ul,.mw-parser-output .hlist ul dl,.mw-parser-output .hlist ul ol,.mw-parser-output .hlist ul ul{display:inline}.mw-parser-output .hlist .mw-empty-li{display:none}.mw-parser-output .hlist dt::after{content:": "}.mw-parser-output .hlist dd::after,.mw-parser-output .hlist li::after{content:" · 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colspan="2"><div><a href="/wiki/List_of_modernist_composers" title="List of modernist composers">List of modernist composers</a></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;text-align: center;">Composers</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%">Europe</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li>Austria <ul><li><a href="/wiki/Alban_Berg" title="Alban Berg">Berg</a></li> <li><a href="/wiki/Ernst_Krenek" title="Ernst Krenek">Krenek</a></li> <li><a href="/wiki/Gustav_Mahler" title="Gustav Mahler">Mahler</a></li> <li><a href="/wiki/Arnold_Schoenberg" title="Arnold Schoenberg">Schoenberg</a></li> <li><a href="/wiki/Anton_Webern" title="Anton Webern">Webern</a></li></ul></li> <li>Belgium <ul><li><a href="/wiki/Henri_Pousseur" title="Henri Pousseur">Pousseur</a></li></ul></li> <li>Czechia <ul><li><a href="/wiki/Alois_H%C3%A1ba" title="Alois Hába">Hába</a></li></ul></li> <li>France <ul><li><a href="/wiki/Pierre_Henry" title="Pierre Henry">Henry</a></li> <li><a href="/wiki/Andr%C3%A9_Jolivet" title="André Jolivet">Jolivet</a></li> <li><a href="/wiki/Charles_Koechlin" title="Charles Koechlin">Koechlin</a></li> <li><a href="/wiki/Olivier_Messiaen" title="Olivier Messiaen">Messiaen</a></li> <li><a href="/wiki/Darius_Milhaud" title="Darius Milhaud">Milhaud</a></li> <li><a href="/wiki/Francis_Poulenc" title="Francis Poulenc">Poulenc</a></li> <li><a href="/wiki/Edgard_Var%C3%A8se" title="Edgard Varèse">Varèse</a></li></ul></li> <li>Germany <ul><li><a href="/wiki/Max_Reger" title="Max Reger">Reger</a></li> <li><a href="/wiki/Richard_Strauss" title="Richard Strauss">Strauss</a></li></ul></li> <li>Greece <ul><li><a href="/wiki/Nikos_Skalkottas" title="Nikos Skalkottas">Skalkottas</a></li></ul></li> <li>Hungary <ul><li><a href="/wiki/B%C3%A9la_Bart%C3%B3k" title="Béla Bartók">Bartók</a></li></ul></li> <li>Poland <ul><li><a href="/wiki/Karol_Szymanowski" title="Karol Szymanowski">Szymanowski</a></li></ul></li> <li>Russia <ul><li><a href="/wiki/Sergei_Prokofiev" title="Sergei Prokofiev">Prokofiev</a></li> <li><a href="/wiki/Alexander_Scriabin" title="Alexander Scriabin">Scriabin</a></li> <li><a href="/wiki/Igor_Stravinsky" title="Igor Stravinsky">Stravinsky</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Americas</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li>United States <ul><li><a href="/wiki/George_Antheil" title="George Antheil">Antheil</a></li> <li><a href="/wiki/Milton_Babbitt" title="Milton Babbitt">Babbitt</a></li> <li><a href="/wiki/Elliott_Carter" title="Elliott Carter">Carter</a></li> <li><a href="/wiki/Henry_Cowell" title="Henry Cowell">Cowell</a></li> <li><a href="/wiki/Charles_Ives" title="Charles Ives">Ives</a></li></ul></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;text-align: center;"><div style="display: inline-block; line-height: 1.2em; padding: .1em 0;">Genres and<br />techniques</div></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Atonality" title="Atonality">Atonality</a></li> <li><a href="/wiki/Experimental_music" title="Experimental music">Experimental</a></li> <li><a href="/wiki/Expressionist_music" title="Expressionist music">Expressionism</a></li> <li><a href="/wiki/Futurism_(music)" title="Futurism (music)">Futurism</a></li> <li><a href="/wiki/Microtonal_music" class="mw-redirect" title="Microtonal music">Microtonal</a></li> <li><a href="/wiki/Mode_of_limited_transposition" title="Mode of limited transposition">Modes of limited transposition</a></li> <li><a href="/wiki/Neotonality" title="Neotonality">Neotonality</a></li> <li><a href="/wiki/New_Complexity" title="New Complexity">New Complexity</a></li> <li><a href="/wiki/New_Objectivity" title="New Objectivity">New Objectivity</a></li> <li><a href="/wiki/Noise_music" title="Noise music">Noise</a></li> <li><a href="/wiki/Pandiatonicism" title="Pandiatonicism">Pandiatonicism</a></li> <li><a href="/wiki/Polyrhythm" title="Polyrhythm">Polyrhythms</a></li> <li><a href="/wiki/Polytonality" title="Polytonality">Polytonality</a></li> <li><a href="/wiki/Post-romanticism" title="Post-romanticism">Post-romanticism</a></li> <li><a href="/wiki/Process_music" title="Process music">Process</a></li> <li><a href="/wiki/Quartal_and_quintal_harmony" title="Quartal and quintal harmony">Quartal and quintal harmony</a></li> <li><a href="/wiki/Serialism" 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