 A final point on musical beauty is worthy of mention. Kant distinguishes between free and adherent (anhängend) beauty. Adherent beauty presupposes a concept of the object’s purpose. Thus, a work of architecture is judged beautiful or not according to its success or otherwise in housing people, institutions, or businesses. The resulting judgment of taste is characterized by Kant as impure. Free beauty does not presuppose any concept. As examples of free beauty, Kant mentions abstract patterns, and instrumental music, “indeed all music without a text” (Kant 1790: §16). In general, when Kant discusses music he has pure instrumental music in mind. If one considers that previous thinkers devoted almost exclusive attention to vocal music, this is a significant shift in focus, and one that will be confirmed by the philosophy of music following Kant.