 Both Budd and Goldman locate the value of pure music precisely in the abstractness that to some seems the greatest obstacle to explaining that value. Budd (1995: 164–71) points out that we have an extensive interest in abstract forms outside the realm of music, such as those of natural formations and in the decorative arts, and that such forms are capable of possessing valued aesthetic properties, such as beauty, elegance, and so on. Thus, it is no surprise that we value highly the works of an art of abstract forms. Such artworks can exhibit such forms at a level of complexity not found in nature or the decorative arts and, further, can be about their abstract patterns, as when the first movement of a piano sonata “says something about” sonata form. Though these claims may be true, and make the case of music less puzzling by showing it shares the grounds of its value with other things, they also leave the primary puzzle largely unsolved, namely, why it is that we find the experience of abstract forms so valuable. (In Budd’s defense, this puzzle is no longer one specific to the philosophy of music.)