Romanticism, a 19th-century intellectual and artistic movement, placed a strong emphasis on emotions, intuition, and the individual's subjective experience. This perspective greatly influenced the way music was composed, performed, and interpreted during this period.

Schopenhauer believed that music is a direct expression of the metaphysical force he called the Will-to-Live, which is the fundamental driving force behind all existence. He saw music as a way to access and experience this underlying reality.

Nietzsche saw Greek tragedy as a synthesis of the Apollonian and Dionysian forces. Apollo represents order, rationality, and structure, while Dionysus represents chaos, passion, and intoxication. Their interplay creates a dynamic tension that gives rise to tragedy.

(Catharsis) is a term used in aesthetics to describe the process of emotional release and purification that can occur through the experience of art, including music. It is often associated with the writings of Aristotle and his theory of tragedy.

Structuralism, particularly in the context of music, focuses on analyzing the underlying structures and patterns that govern musical compositions. It seeks to understand how these structures contribute to the meaning and significance of the music.

Adorno believed that certain forms of popular music, especially those produced by the culture industry, serve to reinforce existing social hierarchies and perpetuate systems of domination. He saw this type of music as a tool for manipulating and controlling the masses.

(Gesamtkunstwerk) is a German term that translates to "total work of art". It refers to the idea of combining multiple art forms, such as music, drama, poetry, and visual arts, into a single, cohesive artistic experience.

Plato believed that music has a profound impact on the soul and can reveal hidden truths about the world and the human condition. He saw music as a form of divine inspiration that could elevate the soul and lead to a deeper understanding of reality.

(Différance) is a complex philosophical concept that Derrida developed to describe the ways in which meaning is always deferred and never fully present. In the context of music, this means that the meaning of a musical piece is constantly shifting and evolving, depending on the listener's interpretation and the cultural context in which it is heard.

Marxism, with its focus on social and economic structures, emphasizes the importance of understanding the ways in which music is shaped by and reflects the material conditions of society. Marxist scholars analyze how music can be used as a tool for social change or as a means of perpetuating existing power structures.

(Musical hermeneutics) is a field of study that focuses on the interpretation of musical works. It explores how listeners make meaning from music, how musical meaning is communicated, and how the context in which music is experienced influences its interpretation.

Nietzsche believed that music has a unique ability to express emotions and experiences that cannot be captured through language. He saw music as a form of Dionysian art that could unleash the irrational and instinctual forces within us.

(Musical autonomy) is a concept that emerged in the 19th century, particularly in the context of German Romanticism. It refers to the idea that music should be evaluated based solely on its own aesthetic qualities, without regard to its moral, social, or political implications.

Freud believed that music, like dreams, can provide access to the unconscious mind and its hidden desires. He saw music as a form of symbolic expression that could reveal the unconscious conflicts and anxieties that shape our behavior.

(Musical relativism) is a perspective that emphasizes the diversity of musical traditions and the importance of understanding music within its own cultural context. It rejects the idea that there is a single, universal standard for judging the value of music.