  The next art in Hegel’s “system of the individual arts” is music itself. It, too, comes into its own in the period of romantic art. Like sculpture and painting, but unlike architecture, music gives direct expression to free subjectivity. Yet music goes even further in the direction of expressing the inwardness of subjectivity by dropping the dimensions of space altogether. It thus gives no enduring visual expression to such subjectivity, but expresses the latter in the organized succession of vanishing sounds. Music, for Hegel, originates in the immediate uttering of feeling or what he calls “interjection”—“the Ah and Oh of the heart” (Aesthetics, 2: 903). Yet music is more than just a cry of pain or a sigh; it is an organized, developed, “cadenced” interjection. Music is thus not just a sequence of sounds for its own sake, but is the structured expression in sounds of inner subjectivity. Through rhythm, harmony and melody music allows the soul to hear its own inner movement and to be moved in turn by what it hears. It is “spirit, soul which resounds immediately for itself and feels satisfied in hearing itself [in ihrem Sichvernehmen]” (Aesthetics, 2: 939, translation altered).