The text deals with the fundamental meanings of
Kant
’s third
Critique (
Critique of Judgment), such as
reflection,
aesthetic induction in relation to logical induction, the
aesthetic idea in relation to the
regulative idea, as well as the particular meaning of
empathy. These meanings are analyzed in their diversity from
Kant
’s theory of knowledge. The writer examines them applied on the character of
Beethoven
’s sonata form and compares them to meanings of the study of musical form – in the sense of functional analysis, such as
E. Ratz
’s theory. Thus, this article projects the question of formal analysis in relation to a modern aesthetic theory.