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Query was: music

Here are the matching lines in their respective documents. Select one of the highlighted words in the matching lines below to jump to that point in the document.

• Title: Friedrich Nietzsche: Part 1.2: The Superman
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  • philosophy. Previously, he considered music as a means of expression which
  • expression (the music) is made the purpose, but the purpose of expression
  • opinion after he had come to know Schopenhauer's teaching about music.
  • Schopenhauer is of the opinion that through music, the essence of the
  • through the ideas; music is no mere picture of the will: the will reveals
  • believed he heard directly in the sound of music. A message from the
  • other world is brought to Schopenhauer by music. This point of view
  • affected Richard Wagner. Thus he lets music no longer be a means of
  • talked not only music, this ventriloquist of God, but he talked metaphysics:
  • merely changed his opinion about the significance of music, then Nietzsche
  • beyond, that he utilized his music to glorify the flight from reality,
  • Also a better musician, a better listener. Is it at all possible
  • to listen still better? I continue to bury my ears beneath this music;
  • thoughts run through my head. Has one noticed that music frees
  • philosopher, the more one becomes a musician, that the grey heavens
  • Since Richard Wagner's music did not make such an impression upon him,
  • Nietzsche rejected it: “My objections to Wagner's music are
  • I no longer breathe easily when this music first begins to work upon me;
  • desires to beat, dance, march. It demands first of all from the music the
  • ‘What does my entire body really want from this music?’
  • Maximum number of matches per file exceeded.
• Title: Friedrich Nietzsche: Part 1.3: Nietzsche's Path of Development
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  • and arising out of primordial willing. For him, Wagner's music-dramas
  • saw in music an immediate image of the will, Nietzsche also believed
  • that he should see in music the best means of expression for a Dionysian
  • must call upon other means of expression to help, above all, upon music,
  • at the; same time, the dramatist, the poet, the musician” ...
  • music. I have already indicated that later Nietzsche found and could
  • in the performances of the works of our great musicians, a stimulation
• Title: Friedrich Nietzsche: Part 2: The Psychology of Friedrich Nietzsche as a Psychopathological Problem
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  • The Birth of Tragedy Out of the Spirit of Music.
  • are the results of Apollonian art. The lyric style, the musical work
  • Schopenhauer himself had already assigned music
  • images of the will; he calls music a direct expression of the archetypal
  • ears for new music. New eyes for the most distant. A new conscience
• Title: Friedrich Nietzsche: Part 3: Friedrich Nietzsche's Personality and Psychotherapy
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  • in Wagner's music in my youth had absolutely nothing to do with Wagner;
  • that when I described the Dionysian music, I described that which I
  • old, young, ripe, dry, rotten? So that, for example, a musician is able
• Title: Friedrich Nietzsche: Part 4: The Personality of Friedrich Nietzsche, A Memorial Address
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  • world conception, Wagner's music dramas, the knowledge of the more recent
  • He says that what in his younger years he had heard in Wagner's music
  • Dionysian music, I described what I had heard; instinctively I had to
• Title: Friedrich Nietzsche: Back Cover Sheet
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  • Mathematics, Physics, Painting, Sculpture, Music Therapy, Drama, Speech
• Title: Friedrich Nietzsche: Introduction: Friedrich Nietzsche and Rudolf Steiner
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  • a love of music, books and friendships played a role.
  • The Birth of Tragedy out of the Spirit of Music.
  • musicians to the book, but Nietzsche's colleagues in the philological
  • “The music of his
  • of Richard Wagner's music drama,
  • had many friends among writers, poets, musicians, architects, journalists,