ABSTRACT
In this chapter, the describes the nature of these base properties and enquires how and why they cause such reactions in ideal critics, that is, why they are sources of value in artworks. It seems to be formal, expressive, representational sensuous and historical properties of works. Prior to the nineteenth century, when art in general was conceptualized as primarily representational, music was not of primary importance to philosophers of aesthetics. But with the rise of romanticism and its emphasis on the artist's personal expression of unique emotional states, music came to the fore in aesthetic theory. Returning to the domain of music, the question for Walton's theory is what we could be imagining when listening to music that would produce the sensations involved in what he characterizes as make-believe emotions. Representation in music is minimal and shades into expression.
