Current studies on Adolph Bernhard Marx generally focus on Marx's seminal texts in music theory and pedagogy, such as Die Lehre von der musikalischen Komposition, praktisch theoretisch (1837-1847) and Marx's theory of sonata form, but they infrequently explore the philosophical and aesthetic dimensions of Marx's criticism. The present essay will analyze a series of statements Marx wrote that address the aesthetic principles one should employ in descriptions of musical meaning, including

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... al guidelines" (die geistigen Lenkfäden) and psychological coherence (des psychologischen Zusammenhangs). We will investigate Hegel's influence on Marx's thought, in addition to other contemporary philosophical positions, in relation to the themes of musical content, form, and the creative process. The study will aim to reveal the function of "spiritual guidelines" and specifically psychological coherence in aesthetics as the basis of a fresh look into musical meaning and ideal content in Beethoven's Ninth Symphony, Op. 125.