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An aspect within the philosophy of music that explores the meaning and role of silence within musical composition.

The view that the most important aspect of music is its form, or the structure of the sounds

The view that music's primary purpose is to express emotions, and that it must be understood in the context of the composer's emotional intent.

Instrumental music that is not explicitly about anything, non-representational and non-programmatic.

A study within music philosophy that explores how music reflects and shapes gender identities and relations.

A musical structure consisting of three main sections: exposition, development, and recapitulation.

A philosophical approach that investigates the experience of listening to music and the intentionality of musical consciousness.

The concept that music can imitate the emotions, actions, or natural sounds found in the world, deriving from Aristotle's Poetics.

A perspective that interprets, critiques, and promotes music in the context of Marxist theory, often focusing on the societal role of music.

Music that is intended to evoke images or convey the impression of events.

The study of signs and the signifying practices in music, including the interpretation of musical symbols, motifs, and themes.

The belief that musical works possess essential properties that define their identity.

The use of musical elements to represent ideas, concepts, or narratives beyond the literal sound.

An aesthetic quality wherein music reflects the melodic and expressive characteristics often attributed to lyrical poetry.

A method focused on teaching, learning and understanding music through the experience of singing, providing a direct encounter with music.

A field at the intersection of ecology and acoustics that involves the study of sounds that are derived from, or relevant to, the natural environment.

The theory that musical value is determined entirely by the emotional response it provokes in the audience.

The view that musical works exist as abstract objects, akin to the way Platonic forms are understood.

An approach that views the meaning of music as being derived from its use and its effects on the audience and society.