Abstract
In present times, the notion of beauty finds itself in a strange situation. On one side, it has undergone a sort of new renaissance since the last decades of the XX century, thanks to the works of several philosophers and aestheticians. On the other side, it is a common loci both in aesthetics and art history that beauty has disappeared from modern and contemporary art, especially when visual arts and instrumental music are concerned. One of the most effective arguments in sup-port of this thesis maintains that there is no connection between normative and descriptive judgments of beauty. I am going to argue that such connection exists, and that it lies in the intermediate role played by the properties of harmony and appropriateness, which belong to the aesthetic as well as to the non-aesthetic realm. This will help us to free the notion of beauty from the charges of ambiguity and abuse, and to restore its relevance in XX and XXI centuries arts.
