Abstract
While various other scholarly domains have debated the conceptual value of these aesthetic concepts, such a debate is missing in music studies. This lack is “danger-ous” to the extent it masks a regressive longing for an absolute—an absolute that, under the flag of the unpresentable, harbors a hidden and nos-talgic return to repressive binaries of gender.My task here is to historicize briefly the con-cepts of the sublime and the ineffable and to recount the critical debates concerning these aesthetic categories. Then I’ll present a few in-stances of how these categories have surfaced in
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