Abstract

In Absolute Music: The History of an Idea, Mark Evan Bonds presents a magisterial history of absolute music—a term Richard Wagner first coined in 1846, and yet which Bonds believes existed as an ‘idea’ going all the way back to Ancient Greece. Drawing primarily on the work of new musicologists in the United States in the 1980s as his point of departure, Bonds defines absolute music as a ‘regulative concept’ that allows him to discuss the ‘relationship between music’s perceived essence and its effect’.1 1 The ‘essence-effect’ binarism provides a unique angle for his history, yet also locks his discussion into a conceptual framework that leads to either/or conclusions about absolute music’s moral, social, and aesthetic value.