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In this paper, I argue for an implicit version of 'enhanced formalism' in Eduard Hanslick's aesthetics, usually misread as 'extreme' formalism devoid of any positive account of emotion and music. I outline 'enhanced formalism' in its contemporary incarnations (Davies, Kivy), explore certain common features with Hanslick's approach, and finally explain why Hanslick ultimately abandoned the concept of expressive properties as intrinsic properties of musical structure as the basis of objective aesthetics.

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