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The purpose of this study is to examine the relation between the musical views of the Biedermeier Era and Hanslick. It is intended for the better understanding of the historical background and context of Hanslick idea of absolute music.Vienna was under the heavy hands of Metternich from the Congress of Vienna (1815) to the March Revolution (1848). During this "Vormärz (pre-March)" era, so-called Biedermeier culture flourished which can be characterized by the intermingling of the conviviality, simplicity and bourgeois self-display.During the Biedermeier era, the number of public concerts had been increased while the music culture itself had been polarized into two tendencies. One was based on the traditional Viennese classicism established in the late eighteenth century, and the other was inclination to the fashionable Italian opera, virtuosi, and the frenzy of dance music. While the former was declined during the 1820s, while the latter increased its momentum at the same time and dominated the Biedermeier society. In this context, Biedermeier era's musical view point can be summarized as a "Gefühlästhetik" or "aesthetic of feeling." Hanslick criticized the partial inclination to feeling acutely and asserted the idea of absolute music instead. He emphasized the autonomic form of instrumental music. This idea implied that the active mind can be related to the idea of absolute music while the passive feeling can be associated with emotional music. In my opinion, Hanslick's assertion is based on the hope that the social order is necessary in post-revolution Vienna. His intention can be interpreted as an attempt to present the social vision through the music aesthetics.Hanslick criticized the Biedermeier era's view of music through the following questions: "Is to express daily feelings only raison d'être of music?"; "Why don't you pursue the idea immanent in music?" These questions also remind us of the importance of the balance between the emotional and intellectual aspects of music as well as in our lives.