Musical, dissonant thinking does not rely upon a central authority for deriving truth and meaning, but rather a dynamic and pluralistic method of understanding that is without a unitary, fixed centre. Nietzsche “emancipates” dissonance from the constrictions of metaphysical philosophies––a category that includes modern science in Nietzsche’s outlook––in order to facilitate a complete “revaluation of all values,” a project that Nietzsche outlines in his late works, which I contend involves the continual rethinking of all values with respect to a musical, dissonant epistemology. The theoretical approach taken is informed by Arnold Schoenberg’s concept of the “emancipation of the dissonance,” which he claims to be the guiding principle of his twelve-tone system of musical composition. An analysis of Nietzsche’s major works through the lens of musical dissonance reveals that it constitutes a powerful extended metaphor throughout his writings, and inspires his understanding of tragedy, science, eternal recurrence, the Übermensch, the will to power, Bildung, and other concepts. Musical dissonance provides Nietzsche with the means to “overcome” the ascetic, life-denying, metaphysical philosophies that he believes have enervated and depleted Western civilization since the advent of Platonic and Judeo-Christian thought. In The Birth of Tragedy, Nietzsche claims that musical dissonance constitutes the “foundations of all existence.” I contend that it forms the foundation of a radical, life-affirming, and dynamic epistemology.

This dissertation argues that musical dissonance is a master metaphor in the works of Friedrich Nietzsche.

Dr faustus mann