Abstract
Aesthetic theory has often distinguished the objects of its inquiries according to their pi on the human senses. Our understanding of the work of art, the vocation of the artist, a the response of audiences to art has been shaped in part by the possible relationshi between medium and sensory experience. For example, painting, sculpture and architecti can be understood to constitute visible forms-works given meaning in space. On t other hand, music can be thought to represent a quite different realm, a cultural sphere audible forms existing in time. The text of music is revealed not simply in notatioi like literature and poetry, but in sounds associated through temporality. For that reas music has been conceived as radically different from the other arts: its unchalleng uniqueness is bound up with the possibilities of expression and discovery in time, and principle is, quite literally, de-velopment-a temporal unfolding from latent, elemen forms.
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