 Given the global prevalence of rock music, broadly construed, it is plausible that song is the most common kind of music listened to in the contemporary world. Film and other motion pictures, such as television and video-games, are also ubiquitous. There has been some significant work done on the aesthetics of song (Levinson 1987; Gracyk 2001; Bicknell &amp; Fisher 2013; Bicknell 2015), music drama (Kivy 1988b, 1994; Goehr 1998), and film music (Carroll 1988: 213–225; Levinson 1996b; Kivy 1997a; Smith 1996). (See also the chapters in part V of Gracyk &amp; Kania 2011; on hybrid art forms more generally, see Levinson 1984 and Ridley 2004.) However, it seems that there is plenty of room for further work on the aesthetics of impure music. “Muzak” is another musical phenomenon that is ubiquitous, yet has received little serious attention from aestheticians, being used primarily as an example to elicit disgust. Whether or not there is anything interesting to say about Muzak philosophically, as opposed to psychologically or sociologically, remains to be seen.