Eduard Hanslick’s On the Musically Beautiful (1854) constitutes the nemesis of the sentimental-Romantic ‘aesthetics of feeling’. It did not however completely expel emotion from music, as some thought, but from music aesthetics, framed as a new ‘science’ equally removed from historical and political context. This position differed radically from the Left Hegelian politics and Romantic aesthetics Hanslick had espoused a few years earlier. His change of heart was prompted by the revolution of 1848 and the subsequent growth of ‘Herbartianism’, an Austrian ‘state philosophy’ synthesized from the anti-Idealist thinkers J. F. Herbart and Bernard Bolzano. Hanslick’s own Herbartian programme had a direct impact on the Viennese tradition of musicology, and a more indirect influence over late Romantic thought on music, pushing toward a more analytical, ‘objective’ concept of music’s dynamic processes. By World War I, ‘energetic’ aesthetics had replaced Romantic emotions with an unsentimental vocabulary of forms, lines and energy-flows.