Absolute Music, Architecture, Dionysian

Two indications in Human, All Too Human of Nietzsche's liberation from the influence of Schopenhauer are in # 215 and #218.  In the first, he introduces 'Absolute Music', which is not, contrary to Schopenhauer's concept of Music, a representation of Will.  In the second, he characterizes some examples of exalted Architecture as only extrinsically beautiful, thereby rejecting Schopenhauer's formulation that Sublimity entails Beauty, that has been previously discussed.  These passages suggest, furthermore, a break with the Aesthetic Theory of his own Birth of Tragedy, as well.  For, he explains that Absolute Music also precedes its incorporation into Dionysian activity, while, in #11 of the 'Expeditions of an Untimely Man' section of Twilight of the Idols, he asserts that Architecture is neither Dionysian nor Apollinian.  However, one difference between the two developments is that while his liberation from Schopenhauer sharpens into opposition, he never waivers in his allegiance to the Dionysian principle, leaving as apparently unaddressed the problem that Absolute Music and Architecture thereby become ungrounded phenomena.