Philosophy of music is the study of fundamental questions regarding music. The philosophical study of music has many connections with philosophical questions in metaphysics and aesthetics. Some basic questions in the philosophy of music are:
One common definition of music is "organized sound". There are many different ways of denoting the fundamental aspects of music which extend beyond tones: popular aspects include melody, harmony, rhythm, and timbre. However, Musique concrète often consists only of sound samples of non-musical nature, sometimes in random juxtaposition. Ambient music may often consist merely of recordings of wildlife or nature. The arrival of these avant-garde forms of music in the 20th century have been a major challenge to traditional views on music, leading to broader characterizations.
There was intense debate over the matter during the late Romantic Era, with the majority of opposition to absolute instrumental-based music coming from Richard Wagner, Friedrich Nietzsche and Georg Wilhelm Friedrich Hegel. Wagner's works were chiefly programmatic and often used vocalization, and he said that "Where music can go no further, there comes the word… the word stands higher than the tone." Nietzsche wrote many commentaries applauding the music of Wagner and was in fact an amateur composer himself.
Other Romantic philosophers and proponents of absolute music, such as Johann von Goethe saw music not only as a subjective human "language" but as an absolute transcendent means of peering into a higher realm of order and beauty. Some expressed a spiritual connection with music. In Part IV of his chief work, The World as Will and Representation (1819), Arthur Schopenhauer said that "music is the answer to the mystery of life. The most profound of all the arts, it expresses the deepest thoughts of life." In "The Immediate Stages of the Erotic, or Musical Erotic", a chapter of Either/Or (1843), Søren Kierkegaard examines the profundity of music of Wolfgang Amadeus Mozart and the sensual nature of Don Giovanni.
In his 1997 book How the Mind Works, Steven Pinker dubbed music "auditory cheesecake",[this quote needs a citation] a phrase that in the years since has served as a challenge to the musicologists and psychologists who believe otherwise. Among those to note this stir was Philip Ball in his book The Music Instinct where he noted that music seems to reach to the very core of what it means to be human: "There are cultures in the world where to say 'I'm not musical' would be meaningless," Ball writes, "akin to saying 'I'm not alive'." In a filmed debate, Ball suggests that music might get its emotive power through its ability to mimic people and perhaps its ability to entice us lies in music's ability to set up an expectation and then violate it.
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