 Hegel distinguishes between accompanying and independent music. To the former belongs any work that involves music and a text, whereas the latter is instrumental music. When music functions as an accompaniment, Hegel holds that the text should be subordinate to the music (Hegel 1835: part III, section III, chapter II, 3). Independent music is music at its full potential, as it is best able to express the freedom of the Spirit, for subjective experience unfolds undetermined by concepts (Hegel 1835: part III, section III, chapter II, 3.b). However, independent music also harbors a potential danger, as it may be tempted to rely on its formal complexity and forego emotional content entirely, in which case it would strictly speaking cease to be art (Hegel 1835: part III, section III, chapter II, 1.b). Here Hegel pairs a Romantic vindication of instrumental music as music par excellence with an eighteenth century suspicion of music that is not expressive of emotions.