No detailed description available for "Tragedy in the Art of Music".

Essays in this volume seek to clarify the meaning of tragedy and the tragic in its many German contexts, art forms, and disciplines, from literature and philosophy to music, painting, and history.

A new translation and edition of one of the seminal philosophical works of the modern period.

Friedrich Nietzsche's 'The Birth of Tragedy' delves into the dichotomy between classical art and nihilism, exploring the origins of Greek tragedy and its relevance in a modern context. Written in a philosophical and poetic style, Nietzsche examines the tension between the Apollonian and Dionysian forces in art, asserting that true art arises from the fusion of these opposing elements. The book also critiques the rationalism of Western thought, advocating for a return to the primal and instinctual aspects of human nature. In its exploration of cultural history and aesthetics, 'The Birth of Tragedy' remains a seminal work in the field of art theory and philosophy. Friedrich Nietzsche, a renowned German philosopher and cultural critic, drew inspiration from his studies in classical philology and his disillusionment with traditional morality to write 'The Birth of Tragedy.' His unique perspective on the role of art in society and his critique of Enlightenment values have influenced generations of thinkers and artists. I highly recommend 'The Birth of Tragedy' to readers interested in delving into the complexities of art, culture, and philosophy. Nietzsche's profound insights and provocative ideas will challenge your preconceptions and inspire you to reconsider the nature of beauty and meaning in the world.

'Yes, what is Dionysian? - This book provides an answer - "a man who knows" speaks in it, the initiate and disciple of his god.' The Birth of Tragedy (1872) is a book about the origins of Greek tragedy and its relevance to the German culture of its time. For Nietzsche, Greek tragedy is the expression of a culture which has achieved a delicate but powerful balance between Dionysian insight into the chaos and suffering which underlies all existence and the discipline and clarity of rational Apollonian form. In order to promote a return to these values, Nietzsche undertakes a critique of the complacent rationalism of late nineteenth-century German culture and makes an impassioned plea for the regenerative potential of the music of Wagner. In its wide-ranging discussion of the nature of art, science and religion, Nietzsche's argument raises important questions about the problematic nature of cultural origins which are still of concern today. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

During the years preceding the composition of Tristan and Isolde, Wagner's aesthetics underwent a momentous turnaround, principally as a result of his discovery of Schopenhauer. Many of Schopenhauer's ideas, especially those regarding music's metaphysical significance, resonated with patterns of thought that had long been central to Wagner's aesthetics, and Wagner described the entry of Schopenhauer into his life as "a gift from heaven." Chafe argues that Wagner's Tristan and Isolde is a musical and dramatic exposition of metaphysical ideas inspired by Schopenhauer. The first part of the book covers the philosophical and literary underpinnings of the story, exploring Schopenhauer's metaphysics and Gottfried van Strassburg's Tristan poem. Chafe then turns to the events in the opera, providing tonal and harmonic analyses that reinforce his interpretation of the drama. Chafe acts as an expert guide, interpreting and illustrating most important moments for his reader. Ultimately, Chafe creates a critical account of Tristan, in which the drama is shown to develop through the music.

This book is a concise and historicized analysis of the development of Nietzsche's thought on the subject of tragedy.

A Companion to Nietzsche provides a comprehensive guide to all the main aspects of Nietzsche's philosophy, profiling the most recent research and trends in scholarship. Brings together an international roster of both rising stars and established scholars, including many of the leading commentators and interpreters of Nietzsche. Showcases the latest trends in Nietzsche scholarship, such as the renewed focus on Nietzsche's philosophy of time, of nature, and of life. Includes clearly organized sections on Art, Nature, and Individuation; Nietzsche's New Philosophy of the Future; Eternal Recurrence, the Overhuman, and Nihilism; Philosophy of Mind; Philosophy and Genealogy; Ethics; Politics; Aesthetics; Evolution and Life. Features fresh treatments of Nietzsche’s core and enigmatic doctrines.

This influential book was the first comprehensive study of Nietzsche's earliest work, The Birth of Tragedy (1872).

Friedrich Nietzsche (1844-1900) supported the unification of Europe and reflected on this like few other philosophers before or after him. Many of his works are concerned with the present state and future of European culture and humanity. Resisting the “nationalist nonsense” and “politics of dissolution” of his day, he advocated the birth of “good Europeans,” i.e. “supra-national” individuals and the “amalgamation of nations.” Nietzsche, Wagner, Europe analyzes the development of Friedrich Nietzsche’s ideal of European culture based on his musical aesthetics. It does so against the background of contemporary searches for a wider, cultural meaning beyond Europe’s economic-political union. The book claims that Nietzsche always propagated the “aestheticization” of Europe, but that his view on how to achieve this changed as a result of his dramatically altering philosophy of music. The main focus is on Nietzsche’s passion for and later aversion to Wagner’s music, and, in direct connection with this, his surprising embrace of Italian operas as new forms of “Dionysian” music and of Goethe as a model of “Good Europeanism.”