Evaluating the Explanatory Adequacy of Schopenhauer's Theory of Music Through Music-Theoretical Analysis Within the Framework of Western Art Music

Music occupies a distinct status in Schopenhauer's philosophy, as he views music as a form of art that uniquely expresses aspects of human life and directly objectifies the Will. However, different compositional practices may raise questions about whether his metaphysical account remains adequate beyond the convention underlying his theory of music. This paper discusses Schopenhauer's music model in relation to his metaphysical claims of representation and the Will and examines its applicability across three musical compositions from distinct periods of Western art music. By analysing and comparing the corresponding musical elements in Schopenhauer's music model and compositions by Mozart, Bach, and Debussy, this paper evaluates the extent to which his theoretical framework correlates with musical works that differ in their adherence to its tonal convention. The analysis distinguishes between conformity to Schopenhauer's music model and the broader capacity that music has to objectify the Will. The findings suggest that while Schopenhauer's model of music provides a coherent explanation within the framework of tonal teleology, his metaphysical claim about music directly objectifying the Will may go beyond the particular musical model given by Schopenhauer, showing that the model should be considered as one, instead of the only manifestation of musical objectification of the Will.