This book looks at the concept of the sublime in the Classical and Romantic music periods, as well as its abandonment by the music avantgarde. The authors pair Beethoven’s music with the philosophical debates of Burke, Kant, and Schiller. On the other hand, they note the erasure of the sublime in Schönberg’s work, that is, the creation of atonality and dodecaphony. The latter’s appearance was conditioned by broader socio-political circumstances, meaning that it cannot be fully explained through musico-poetic and philosophical-aesthetic factors.