Tool, Rock, and the Dionysian Future of Music

In Ecce Homo, Friedrich Nietzsche declares his “tremendous hope” for “a Dionysian future of music,” in which music would free itself from moralizing and rationalizing tendencies and creatively affirm the boundary-dissolving experiences that accompany states of ecstasy.  In the twentieth century, many forms of popular music have contributed to the fulfillment of Nietzsche’s Dionysian hope. Continue reading “Tool, Rock, and the Dionysian Future of Music”