ABSTRACT
Music is such sounds produced with a certain intent. This chapter deals with the poetry problem by requiring that the organized sounds in music be intended for listening to primarily as sounds, and not primarily as symbols of discursive thought. It finds a replacement for "aesthetic appreciation", since this is too narrow an end to comprise all activity that the author would count as the making of music. Music for the accompaniment of ritual, music for the intensification of warlike spirit, and music for dancing are all examples of musics whose proper appreciation does not involve contemplative and distanced apprehension of pure patterns of sound, or put otherwise, does not call for specific attention to its beauty or aesthetic qualities. The concepts of a distinctive musical experience, or of the hearing of something as music, are useful ones, to be sure, but there is little to be gained by collapsing them into the cultural and objective category of music itself.
