 Apparently, however, many serious and sensitive listeners and composers have been somewhat swayed by his account of music (for his influence on music theorist Heinrich Schenker, see Cubero 2017). Of all of the facets of Schopenhauer’s aesthetics, none has exerted a greater influence.  The theory had a deep influence on Brahms, Wagner, Mahler and Schönberg (see Goehr 1998, and Magee 1997, chapter 17), and is echoed in Susanne Langer’s theory of musical symbolism (Langer 1953; see also Alperson 1981). Analogizing Schopenhauer’s influence on musical aesthetics to Beethoven’s influence in classical music itself, Goehr avers that Schopenhauer became “a central reference point” in the most important debates in the history of musical aesthetics (Goehr, 1996: 200).