Traditional aesthetics of music approaches music as a phenomenon of art which is defined by its creator in the very act of music production. Music understood in this way then becomes a subject of philosophical examination–as a specific type of artistic message which besides its original and unique qualities also has some objective characteristics and insinuated qualities (e. g. insinuated by the artistic style or music genre).

In the aesthetics of music, the specific feature of reception reasoning is focused on the interaction between the musical object and its listener and also between the musical expression and its participant. The central aspect of the reception-approach to aesthetic phenomena (i. e. sound and music) is the reasoning in terms of the contexts of such interaction, and in terms of its productiveness or purpose. Thee interactions between the listeners and musical objects are not only various and diverse, but also noticeably incoherent. In accordance with this, the reception-aesthetics of music approaches music as a potentially very broadly understood aesthetic phenomenon. In the sense of reception theory, music can thus be any presently sounding audible object to which the listener ascribes some musical qualities.

In ordinary life, listeners only occasionally behave towards music as towards art. Mostly they encounter  …..