ABSTRACT. Overall, throughout this paper, I demonstrate the value and importance of the intrinsic correlation between music and language. The purpose of this paper will be to supply a brief overview of an approach to analyzing Berlioz’s program music, and of harmony and musical form. On Lütkehaus’ reading, Schopenhauer’s philosophy of music is essentially a metaphysics of music descending from a metaphysics of the Will whose logic leads toward the emancipation of dissonance from harmony. Strässle puts it that, for Ritter, the relationship between music and language is to a great extent intrinsic rather than merely complementary. Rodgers analyzes the peculiar force and drama of Berlioz’s music, the centrality of strophic variation to Berlioz’s musical language. Johnson remarks that music reformulates the borders between individuality and collectivity by repeatedly transgressing them in its own internal language. (pp. 170–175)

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