 There are a couple of dimensions to most solutions of the puzzle of pure music’s value. One is the extent to which it is agreed that music really is abstract. To the extent that one thinks that music is not unrelated to the real world, one will be able to argue that music’s value is at least no more puzzling than the value of arts more obviously related to the real world, such as literature and representational painting and sculpture. (See Ridley 2004 for an extended critique of taking the concept of “pure” music as central to musical aesthetics.) The other dimension to most solutions of the puzzle of pure music’s value is the extent to which one thinks the abstractness of music is the source of its value. Thus, two theorists might agree on the extent to which music is related to the real world (by being expressive, say), yet one locate its primary value in that expressiveness while the other locates it in its abstract, purely formal features.