When we follow the philosophical discourse on artistic sensibility, it can be very easily noticed that it displays a double tendency concerning the status given to the expressive resources. On the one hand, it seems that the ways of expression strongly resist to each other, but on the other hand this resistance looks very weak, unlocking new frontiers and accomplishing further transitions. In line with this, the present article aims at testing the hypothesis that it is within the musical sphere that modern aesthetics discovers the profound meaning of the close link between the arts, forged in terms of an artistic vanguard. In sum, it aims at remaking the steps through which music turned out to be, during the nineteenth century, one of the most relevant vehicles of ideas in order to - having discussed the irreversible change brought about by Nietzsche's philosophy - light upon the very concept of Verfransung - built up in Adorno's latest thought.
music; language; German idealism; Nietzsche; Adorno
