Abstract

In Nietzsche’s mature work reflections, marked by the elaboration of a semiotic conception of music, pain plays a central role in music. In order to extract its full potential, it is very fruitful to confront it with Theodor W. Adorno’s philosophy of music and his reading of Nietzschean texts. All that will be aimed at the main task of this study: to extract the guidelines of a ‘philosophical semiotics of music’, as a proposal for the present. And as a conclusion, its application to Alban Berg’s work.