Music and Dionysian

There are at least three ways that Music can be classified as a "Dionysian art", as Nietzsche characterizes it at the outset of Birth of Tragedy.  First, it can sonically represent the ecstatic emotions of the Dionysian festivals, just as the tragic chorus symbolizes Dionysian revelers, in his concept of Tragedy.  Second, it can be an actual part of those celebrations, an example which he briefly cites.  But, third, and more radically, Music can itself be the cause of Dionysian activities, not only of the St. Vitus dance, but of the orgies that literally unite separate individuals.  However, to function in this manner, Music does not require some eternal set of characteristics.  Rather, a "change to a new type of music" can unsettle "the most fundamental political and social conventions . . .till it finally overthrows all things public and private", as Plato warns in the Republic, IV 424.  In other words, it suffices for Music to change in some fundamental way to effect the kind of dissolution of individuality that Nietzsche recognizes in sections 1 and 21.  Hence, the Dionysian power of Music is historically conditioned, and does not consists in some eternal set of metaphysical characteristics, as Schopenhauer's legacy requires, i. e. Dithyramb is no more 'Dionysian' sub specie aeternitas than is Wagnerian opera.  Conversely, Music can also serve to reinforce a status quo, as both Plato and Nietzsche recognize, and, so, is not inherently Dionysian for that reason, as well.