Abstract
For years students of aesthetics have cut their teeth on the accepted wisdom that Eduard Hanslick is the example of musical formalism. His is the supposed classic statement in Vom Musikalisch-Schdinen that music is concerned only with its plastic or formal aspects. Traditional interpretations that are as widely held as that of Hanslick's musical formalism are, of course, resistant to change. But I shall show here that Hanslick is not the archformalist of traditional musical criticism.
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