 It has never been plausible to think of aesthetics as wholly a priori. Even those who think its main business is the analysis of widely shared folk concepts (Dickie 1962) will agree that a philosopher of music should have a good deal of knowledge of the history, art making practices and traditions of criticism of some musical tradition. In this respect aesthetics is closer to the philosophy of physics or economics than it is to metaphysics. There is also a frequently acknowledged connection between aesthetics and the study of perception. When Baumgarten (1750–58) first introduced the term “aesthetics” he called it a “science of perception” and according to Nanay (2014: 101)