[(_α_) The more poetic aspect of music. Inseparable from the theoretical means which creates it. No real surrender involved in its subjection to rules of harmony (_β_) Simple melodies. Folk-songs. Part chorales where each note of melody represented by a chord. Musical composition as an illustration of the conflict between the principles of freedom and necessity (_γ_) General character of genuine melody. As such reflects free self-consciousness of soul-life] 3. The relation between means of expression in music and its content (_a_) Music as an accompaniment [(_α_) The melodic expression of such music. Ought not to fall into excess of tumult. Palestrina, Durante, Haydn, Mozart, etc. Beauty of Italian music (_β_) The differentiation of the mode of musical expression must correspond with the nature of a specific content and its situation. Such a content supplied by the libretto. Distinction from this of a song. The recitative. Defective unity (_γ_) The nature of the condition of concrete unity in the libretto and declamatory recitative. A good libretto not wholly unimportant. Must be stamped with self-consistency. The libretto of Mozart's "Magic Flute." Comparison of the sustaining soul of music with the fundamental beauty of Raphael's paintings. Different forms of music as accompaniment. Church, lyrical, and dramatic music] (_b_) Independent music (_c_) The artist as Executant [(_α_) The ordinary executant who simply executes what lies before him. Comparison with the rhapsodist or reciter of Epos. Player must lose himself in music and reproduce composer (_β_) The virtuoso, who himself creates and makes the music a means of personal display. Must not merely show eccentricity, but reveal the life of music and the force of a personality] THIRD PART THE SYSTEM OF THE PARTICULAR ARTS THE PHILOSOPHY OF FINE ART INTRODUCTION The objects treated by our science in the _first_ part were the general notion and the reality of beauty in Nature and art, in other words beauty in its truth, and art in its truth, the Ideal in the as yet undeveloped unity of its fundamental principles, independent of its specific content and its distinguishing modes of envisagement. This essentially genuine[1] unity of the beautiful in art, in the _second_ place, unfolded itself within its own resources in a totality of art-forms, whose determinate structure defined at the same time the content which the art-spirit was impelled to fashion from itself in an essentially articulate system of manifestations of beauty under which the Divine and human is envisaged to the world.