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Cultura International Journal of Philosophy of Culture and Axiology

Volume 3, Issue 1, 2006

Ludmila Bejenaru
Pages 35-40

The Metaphysics of Music at Schopenhauer and Cioran

Since the first degrees of musicality of mankind, the music became a sphere of investigation for naturalists (Darwin), economists (Karl Bücher), philosophers (Spencer, Schopenhauer, Cioran), who tried to explain, through their theories, the process of the beginning and settlement of this phenomenon as well as its influence on the human being. Schopenhauer will consider art, and especially music, as the only liberating form from delusion and suffering, from the omnipotence will to live. Making a strange parallelism between music and the will to live, Schopenhauer will find between these two a report of identity: “the world is an incarnation of music as well as an incarnation of Will: There is no art besides music that expresses an ideal aspect of Will, the Will itself in its purest essence”. If at Schopenhauer the music expresses the Will itself in its purest essence, at Emil Cioran “the metaphysical madness of the musical experience… weakens the will to live and the vital main springs”. Through music Emil Cioran found the way to himself, to his ego and his profound musical nature. The moments of separating of the delusions world are for the human being moments in which the entire existence feels like a melody and all of the being’s sufferings assemble and melt into “a convergence of sounds, into a musical enthusiasm and into a warm and resonant universal community”, into a “sweet and rhythmic immateriality”.

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