Abstract

At the beginning of the XX century music’s aesthetic is not an autonomous discipline with defined borders. Scholars dealing with it are neither philosophers in the strict sense nor merely historians or critics of music. In this paper, I wonder about the possibility of finding the traces of the first Italian aesthetics of music among the folds of a composite and ongoing reflection and through the study of some generally-considered musicological production also having some philosophical profile. Along this path, some figures of particular interest emerge such as that of Fausto Acanfora Torrefranca, a “non-aligned” intellectual, who firmly tried to give musical studies an aesthetic-philosophical basis, on the one hand, and a much needed rigor in the early twentieth century Italy on the other.