The establishment of an objectivist, anti-Romantic tradition in early twentieth-century aesthetics was no purely philosophical breakthrough, nor (as some have argued) a resigned response to the disasters of twentieth-century history, but in significant part an expression of elitism, fascism, and contempt for the masses, one already prominent before 1914. Writers from Schenker to Adorno insisted aggressively on the immanent structural virtues of master-composers’ scores and the irrelevance, or danger, of listeners’ own feelings. The same music-analytical prejudices still vitiate many contemporary attempts within the so-called ‘affective turn’ to theorize emotions and their history in music, not just in musicology but also in psychology. The very end of the book turns toward popular music and cultural studies as more productive embodiments of affective relationality, showing the resonances and continuities these possess with the sentimental-Romantic traditions explored in the book’s chapters.