Husserl famously characterized phenomenology as a science of “infinite tasks.” Among other things, this claim refers to the maximally general scope of phenomeno.

In this article, I consider whether a suitably stripped-down version of Kant's aesthetic theory could nevertheless provide philosophical foundations for musical formalism. I begin by distinguishing between formalism as a view about the nature of music and formalism as an approach to music criticism, arguing that Kant's aesthetics only rules out the former. Then, using an example from the work of musicologist and composer Edward T. Cone, I isolate the characteristics of formalist music criticism. With this characterization in mind, I (...) conclude by showing that even if Kant's aesthetic theory is reduced to its most fundamental claims, the logic of formalist music criticism precludes its practice within even a kantian perspective. (shrink)