Música insignificante. Avatares de la insistencia musical en la crítica nietzscheana del lenguaje

This paper will outline some points of contact between music and language in Nietzsche, using as a key perspective the nonsignificance of music, and its consequences for Nietzschean critics of language. We will try to highlight how some characteristics of music as featured in The Birth of Tragedy reappear at different moments in his work, and generate at once criticism and construction of new perspectives on language and subjectivity. Taking this into account, and although Nietzsche’s preferred musical works change throughout his life, we will show that these variations have conceptual continuity, not only in terms of musical thought, but also regarding language and figures of subjectivity.