Searching Friedrich Nietzsche, Fighter for Freedom
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- Title: Friedrich Nietzsche: Part 1.2: The Superman
- 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
- 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
- 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
- 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
- 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
- Mathematics, Physics, Painting, Sculpture, Music Therapy, Drama, Speech
- Title: Friedrich Nietzsche: Introduction: Friedrich Nietzsche and Rudolf Steiner
- 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,
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