Abstract

I begin by defending Heinrich Gustav Hotho’s foundational edition of the Lectures on Aesthetics (LA) contra Gethmann-Siebert and others who argue for a non-systematic view of Hegel’s aesthetics generally and music specifically. I defend Hegel against the common conceit that his comprehension of music was somehow deficient and introduce the Hegelian idea of absolute agency as performative in art and music. Reference to Kant’s transcendental aesthetics then allows us to grasp how, in Hegel, meaningful tones arise from the vibratory oscillation between selfhood’s presiding unity and its temporal self-positing. I then trace back further elements of musical architecture, such as rhythm, harmony and melody to the temporal oscillation arising from within selfhood. The fundamental ambiguity within temporal oscillation is the source of meaningfulness in music, the feeling that its experience is meaningful without telling us exactly what that meaning is. Meaningfulness forms the absolute Ur-Ton of beautiful music, which arises as determinate tones within selfhood and resonates into the soul of the listener. The temporal vanishing of musical tones within a compositional framework is a pre-linguistic expression of meaning, performative of the ambiguous oscillation between the human and the divine.