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Absolute music (sometimes abstract music) is music that is not explicitly "about" anything; in contrast to program music, it is non-representational.[1] The idea of absolute music developed at the end of the 18th century in the writings of authors of early German Romanticism, such as Wilhelm Heinrich Wackenroder, Ludwig Tieck and E. T. A. Hoffmann but the term was not coined until 1846 where it was first used by Richard Wagner in a programme to Beethoven's Ninth Symphony.[1][2]
The aesthetic ideas underlying absolute music derive from debates over the relative value of what was known in the early years of aesthetic theory as the fine arts. Kant, in his Critique of Judgment, 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"[3] because of its lack of conceptual content, thus treating as a deficit the very feature of music that others celebrated. Johann Gottfried Herder, in contrast, regarded music as the highest of the arts because of its spirituality, which Herder attributed to the invisibility of sound.[4] The ensuing arguments among musicians, composers, music historians and critics continue today.
^ abM. C. Horowitz (ed.), New Dictionary of the History of Ideas, ISBN 0-684-31377-4, vol.1, p. 5
^Dahlhaus, Carl (1991). The Idea of Absolute Music. University of Chicago Press. p. 18.
^Kant, Immanuel (1790). Walker, Nicholas (ed.). Critique of Judgement. Translated by Meredith, James Creed (2nd ed.). United States: Oxford University Press (published 2007). pp. 156–7. ISBN 978-0-19-280617-8.
^Rothfarb, Lee (2011). "Nineteenth-Century Fortunes of Musical Formalism". Journal of Music Theory. 55 (2): 167–220. doi:10.1215/00222909-1540347.
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