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Absolute music
Absolute music (sometimes abstract music) is music that is not explicitly "about" anything; in contrast to program music, it is non-representational.〔M. C. Horowitz (ed.), ''New Dictionary of the History of Ideas'', ISBN 0-684-31377-4, vol.1, p. 5〕 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.〔
The aesthetic ideas underlying the absolute music debate relate to Kant's aesthetic disinterestedness from his ''Critique of Aesthetic Judgment'', and has led to numerous arguments among musicians, composers, music historians and critics.
== The Spiritualist debate ==
A group of Romantics consisting of Johann Gottfried Herder, Johann Wolfgang Goethe, Jean Paul Richter and E.T.A. Hoffmann gave rise to the idea of what can be labeled as "spiritual absolutism". In this respect, instrumental music transcends other arts and languages to become the discourse of a ‘higher realm’ — propagated greatly in (Hoffmann’s famous review of Beethoven’s 5th Symphony ), published in 1810. These protagonists believed that music could be more emotionally powerful and stimulating without words. According to Richter, music would eventually ‘outlast’ the word.
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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