Music poses a challenge for philosophy, which has often not been accepted by it. However, in recent decades, music philosophy in the German-speaking world has developed into an increasingly dynamic interdisciplinary field that bridges philosophy, aesthetics, art theory, musicology, music theory, and musical practice. The contributions in this volume, including those by Daniel Martin Feige, Gunnar Hindrichs, Richard Klein, Cosima Linke, and Matthias Vogel, draw conclusions for the first time and illuminate the perspectives of the now differentiated discourse on this seemingly most immediate yet conceptually the most elusive form of artistic expression.