 The role of extra-musical references in the understanding of music raises the issue of whether Wittgenstein should be considered a formalist (see Ahonen 2005, and Szabados 2006; 2014). A decidedly formalist element in Wittgenstein’s aesthetics is his separation of the understanding and appreciation of music from the effect it has on us—the move is similar to Hanslick’s (see  §1.6;  on Wittgenstein and Hanslick, see Szabados 2014, 39–57; 94–97). Aesthetic value in general, and music’s value more specifically, is not reducible to an object’s effect (Lectures on Aesthetics, IV, 2). Thus, an artwork is not valuable because it conveys this or that emotion, but because it conveys itself (Wittgenstein 1977 [1998: 67]).