nothing whatever about meanings" (Stravinsky 1962, p. 115). Although listeners often look for meanings in music, Stravinsky warned that these are distractions from the musical experience. The most distinctive development in the aesthetics of music in the 20th century was that attention was directed at the distinction between 'higher' and 'lower' music, now understood to align with the distinction between art music and popular music, respectively. Theodor Adorno suggested that culture industries churn out a debased mass of unsophisticated, sentimental products that have replaced more 'difficult' and critical art forms that might lead people to actually question social life. False needs are cultivated in people by the culture industries. These needs can be both created and satisfied by the capitalist system, and can replace people's 'true' needs: freedom, full expression of human potential and creativity, and genuine creative happiness. Thus, those trapped in the false notions of beauty according to a capitalist mode of thinking can only hear beauty in dishonest terms (citation necessary). Beginning with Peter Kivy's work in the 1970s, analytic philosophy has contributed extensively to the aesthetics of music. Analytic philosophy pays very little attention to the topic of musical beauty. Instead, Kivy inspired extensive debate about the nature of emotional expressiveness in music. He also contributed to the debate over the nature of authentic performances of older music arguing that much of the debate was incoherent because it failed to distinguish among four distinct standards of authentic performance of music (1995). 21st century In the 21st century, philosophers such as Nick Zangwill have extended the study of aesthetics in music as studied in the 20th century by scholars such as Jerrold Levinson and Peter Kivy. In his 2014 book on the aesthetics of music titled Music and Aesthetic Reality: Formalism and the Limits of Description, Zangwill introduces his realist position by stating, "By 'realism' about musical experience, I mean a view that foregrounds the aesthetic properties of music and our experience of these properties: Musical experience is an awareness of an array of sounds and out the sound structure and its aesthetic properties. This is the content of musical experience." Contemporary music in the 20th and 21st centuries has had both supporters and detractors. Theodor Adorno in the 20th century was a critic of much popular music. Others in the 21st century, such as Eugene W. Holland, have constructively proposed jazz improvisation as a socio-economic model,