Resumen de La música "entre" las palabras
The paper takes a startíng point in Nietzsche’s considerations on music by stating that those contained in The Birth of Tragedy correspond partly to Schopenhauerian metaphysics. In Schopenhauer’s view, music eludes representation inasmuch as it belongs to the phenomenal world, but “represents” that which cannot be represented and, in that sense, what exceeds every representational gender. Schopenhauerian music is still expression of a noumenon, and therefore seems closer to the music of the absolute that which attempts to express an "Other”. After reading Gerber, every language is for Nietzsche “artistic language”, so that the dichotomies in The Birth of Tragedy (Apollinianism-Dionysianism, music-word) are no longer valid, This article attempts lo show that, in this sense, the music “in tune” with Nietzsche’s thought would be closer to absolute, music, inasmuch as it is non-representational music.
