Throughout his youth to his time in Schulpforta High School,Nietzsche showed a deep inclination towards music,which was sparked by his intellectual and artistic environment-mainly the impact of Schubert and Schumann as well as that of the poets of German Romanticism.During this period,Nietzsche perceived himself as both a composer and author.Based on his affinity to music and his idealization of Dionysian experience and inspired by his study of Hellenism during the Schulpforta years,Nietzsche achieved the first synthesis of musical experience and philosophical thought in his first major work-Die Geburt der Trag(o)die (1872),which marks his renunciation of the conventional values of Christianity.While intensifying his literary and philosophical activities in the following decade,Nietzsche reduced his musical activities as a composer considerably,regarding himself as a "verunglückter Musikus" (unfortunate musician),a self-assessment mainly caused by the overwhelming,unsurpassable example of the idolized Richard Wagner as well as by Hans von Bülow's criticism of one of his compositions.However,the mutual influences and exchanges between music and philosophy remain significant for Nietzsche's philosophical development in further consequence.Several attempts to analyze his philosophical works from specifically musical perspectives-perspectives that arguably remain indispensable for a comprehensive interpretation of his philosophy as a whole.%普福塔中学的熏陶,使尼采对希腊文化精神有着深刻的认知;加上个人对音乐的体验,使其对时代的艺术氛围保有敏锐的感应;同时其深受德国浪漫派诗人及音乐家的影响.彼时的尼采拥有一种身为音乐家与作家的身份认同.早期尼采借酒神重新诠释美学;同时显现出一种与基督教文明相悖的价值观.接下来的数十年间,尼采大大减少了音乐创作,并自视为不幸的音乐家:一来是面对着瓦格纳的阴影;二来因从毕洛之处得到毁灭性的评语,令尼采将重心转至笔耕.但音乐与哲学两者之间的互动、交流与影响,影响了其哲学上独特的风格.文章以尼采生平为经纬,解说音乐在其生命中所扮演的角色;并对音乐在尼采思想演变的过程中所留下之巨大影响做一介绍.
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