Kant-Studien 100 (4):427-453 (2009)

Authors
Susanne Herrmann-Sinai
Oxford University
Abstract
There are two ways of dealing with Kant's derogatory position on music. Either it is claimed that Kant's opinion is a result of biographical factors, or Kant is regarded as a mere predecessor of a more successful music aesthetics. While the first way mistakes Kant's personal preferences for a philosophical argument about the nature of sound, the second approach underestimates the close connection between his music aesthetics and his whole philosophical system. Against these approaches the article defends the proposition that Kant's (like any other) music aesthetics can only be understood with reference to the concepts of „time“ and „movement“ in order to elucidate the ontology of sound objects.
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DOI 10.1515/KANT.2009.023
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Kant-Bibliographie 2009.Margit Ruffing - 2011 - Kant-Studien 102 (4):499-540.

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