Autonomy is a relatively modern concept in musical aesthetics, dating back to the 18th century. Mimesis, catharsis, and expression, on the other hand, have been discussed by philosophers and music theorists for centuries.

Marxism is a social and political theory, rather than a school of thought in music criticism. Formalism, expressionism, and structuralism are all major schools of thought in music criticism that have been influential in shaping the way we think about and evaluate music.

Aesthetics plays a multifaceted role in musical performance. It is concerned with creating a sense of beauty and pleasure, communicating the composer's intentions, and engaging the audience emotionally.

Aesthetics plays a multifaceted role in musical composition. It is concerned with creating a sense of unity and coherence, expressing the composer's emotions and ideas, and exploring new musical possibilities.

Formalism is often criticized for being too focused on the structure of music at the expense of its emotional content, for being too narrow and not taking into account the social and historical context of music, and for being too academic and not appealing to a general audience. However, it is not typically criticized for being too subjective and relying too heavily on the critic's personal taste.

Expressionism is often criticized for being too emotional and lacking intellectual rigor, for being too subjective and relying too heavily on the composer's personal experience, and for being too vague and not providing a clear framework for evaluating music. However, it is not typically criticized for being too focused on the individual at the expense of the community.

Structuralism is often criticized for being too focused on the structure of music at the expense of its emotional content, for being too reductionist and not taking into account the complexity of musical experience, and for being too abstract and not appealing to a general audience. However, it is not typically criticized for being too deterministic and not allowing for freedom and creativity in musical composition.

Marxism is often criticized for being too focused on the social and historical context of music at the expense of its aesthetic qualities, for being too reductionist and not taking into account the complexity of musical experience, and for being too political and not appealing to a general audience. However, it is not typically criticized for being too deterministic and not allowing for freedom and creativity in musical composition.

Plato, Aristotle, and Kant are all key figures in the history of musical aesthetics. Hegel, on the other hand, is not typically considered to be a major figure in this field.

Edward Hanslick, Leonard Meyer, and Theodor Adorno are all key figures in the history of music criticism. Claude Lévi-Strauss, on the other hand, is not typically considered to be a major figure in this field.

The Republic, The Critique of Judgment, and The Philosophy of Music are all major works of musical aesthetics. Structuralism and Musical Analysis, on the other hand, is a major work of music theory, not musical aesthetics.

On the Musically Beautiful, Music, the Arts, and Ideas, and Introduction to the Sociology of Music are all major works of music criticism. The Birth of Tragedy, on the other hand, is a major work of philosophy, not music criticism.

Glenn Gould, Vladimir Horowitz, and Arturo Toscanini are all major figures in the history of musical performance. Claude Lévi-Strauss, on the other hand, is not typically considered to be a major figure in this field.

Johann Sebastian Bach, Ludwig van Beethoven, and Wolfgang Amadeus Mozart are all major figures in the history of musical composition. Claude Lévi-Strauss, on the other hand, is not typically considered to be a major figure in this field.

Edward Hanslick, Leonard Meyer, and Theodor Adorno are all major figures in the history of musical aesthetics and criticism. Claude Lévi-Strauss, on the other hand, is not typically considered to be a major figure in this field.