Traditionally, the aesthetics of music or musical aesthetics concentrated on the quality and study of the beauty and enjoyment (plaisir and jouissance) of music. Aesthetics is a sub-discipline of philosophy, however, many musicians, music critics, and other non-philosophers have contributed to the aesthetics of music. The origin of this philosophic sub-discipline is sometimes attributed to Baumgarten in the eighteenth century, quickly followed by Kant. Through their writing, the ancient term 'aesthetics', meaning sensory perception, received its present day connotation. In recent decades philosophers have tended to emphasize issues besides beauty and enjoyment.

It is often thought that music has the ability to affect our emotions, intellect, and psychology; it can assuage our loneliness or incite our passions. The philosopher Plato suggests in his book, the Republic that music has a direct effect on the soul. Therefore he proposes that in the ideal regime music should be closely regulated by the state.

It is commonly believed that human responses to music are culturally influenced. For example, musical passages in Beethoven that sounded highly dissonant to his contemporaries do not sound dissonant to listeners today. As such, music's aesthetic appeal seems highly dependent upon the culture in which it is practiced. However, there is a physical background which defines sound being proper or improper. Proper sound is perceived as gentle sound while improper sound is more or less considered nice sounding depending on what the listener is used to listen to. Harry Parch and some other musicologists like for instance Kyle Gann therefore have studied and tried to popularize microtonal music and the usage of alternate musical scales. Also many modern composers like Lamented Young, Rhys Chatham and Glenn Branch paid much attention to a scale called just intonation.

Some of issues aesthetics of music include lyricism, harmony, hypnotism, emotiveness, temporal dynamics, resonance, playfulness, and color. However, there has been a strong tendency in the aesthetics of music to emphasize musical structure as the most important (or even only) aesthetic element that is important in the experience of music.