Paul Bekker (1882–1937), one of the leading music critics in German-speaking world during the first half of the twentieth century, known today as a pioneer of musical sociology, proposed the concept of New Music (Neue Musik) as objectivistic ideal music from a stylistic viewpoint.
   After World War I, there were demands for music that were both innovative and accepted by the people of various social classes. Bekker conceived new music as objectivistic music to satisfy these two demands. The purpose of this paper is to clarify the objectivism that Bekker was aiming for, especially how Bekker envisioned the way of composing and listening of new music.
   The first section illuminates that Bekker developed the theory of generation and material of new music in order to confirm the objectivistic nature of new music. The second section shows how Bekker justified the composition of objectivistic music, a kind of music without a composer. Bekker rationalized the composition without a composer by emphasizing the composition as an invention and a bodily action. The third section clarifies the listening attitudes specific to objectivistic music. Bekker considered that listening of new music, because of its objectivistic nature, could be accomplished without any expert knowledge of music as if the listeners understand themselves.

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   This study aims to reveal the sources for compositional ideas in the organ concertos of Josef Gabriel Rheinberger （1839–1901）, one of the composers who led the revival of this genre in the 19th century. The uniqueness of Rheinberger’s instrumentation has already been noted by Choroba （2001）, although Choroba focuses mainly on an analysis of musical form rather than acoustic design, which I consider in this study.
   First, I focused on the differences in acoustic design of Rheinberger’s organ concertos from other composers of his time （e.g., F. J. Fétis, E. Prout and A. Guilmant）. Whereas in the works of other composers, the orchestra and the organ alternate constantly and confront each other, Rheinberger used both sonic elements for the most part simultaneously, blended them together. The analyses reveal that Rheinberger’s original acoustic design is an essential feature of his compositional style.
   Second, I explored the influences for Rheinberger’s unique compositional ideas through an analysis of historical documents such as his correspondences with organists P. Homeyer and C. L. Werner and the dispositions of the organs on which these compositions were performed. Other composers of his generation composed organ concertos with large new organs with over 50 registers in mind. On the other hand, Rheinberger was most familiar with medium-sized organs, and it is unlikely that his music was composed for any specific instrument. I also note that this compositional approach was likely inspired when he edited W. A. Mozart’s church sonatas.
   The above considerations indicate that the acoustic design of Rheinberger’s organ concertos was the fruit of his attempt to write more versatile compositions that synthesized the sounds of organ and orchestra in an environment that differed from that of other composers of the period.

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