 The originality of Hegel’s musical thinking is also manifested in the few considerations he devotes to the role of the performer. These are introduced and motivated by an observation on the mode of existence peculiar to musical works: while in painting and sculpture we appreciate the product of an activity, in music we appreciate the process of production (Hegel 1835: part III, section III, chapter II, 3.c). Hegel then distinguishes two approaches to performance. The first relinquishes personal contributions on the part of the performer, and seeks to render the work as faithfully as possible, whereas the second allows the performer some initiative (Hegel 1835: part III, section III, chapter II, 3.c). Hegel claims that the two approaches bear a relation to accompanying and independent music, respectively, but does not imply that each approach is best suited to its corresponding kind of music.