 Analytic philosophy of music is at times regarded as exclusively centered on linguistic and conceptual analysis, and dismissed on the grounds of this narrow focus (see for instance Lippman 1992: 353). But this picture is only faithful to its first stages of development. Analytic philosophy of music has evolved, hybridized, and fragmented, much like analytic philosophy at large. In fact, contemporary analytic work on music often includes sustained discussion of scientific or historical research (see for instance Robinson 2005, Nussbaum 2007, Dyck 2014). A different feature is perhaps distinctive of the analytic approach, namely its systematic and often tacitly assumed veto on value judgments regarding the works, traditions, styles, etc. under investigation. Artistic value is not discovered or ascertained through philosophical speculation, it is merely accounted for. This is in quite striking contrast with the approach of many other figures discussed in this entry, who first developed philosophical theories, and then on that basis produced sweeping dismissals of music that is widely regarded as valuable—think of Rousseau on French music or Adorno on jazz (on the differences between analytic and continental philosophy of music, see Roholt 2017).