The concept of dynamism

The concept of dynamism
Present-day ideas of music as a symbolism owe much to two German philosophers,Arthur Schopenhauer (1788–1860) and Friedrich Nietzche (1844–1900), who brought to the theory of music a new concept, articulated by each in different ways and in divergent terms but faithful to the same principle—dynamism. Both saw in music an art that is not “spatialized” (hence not “objective”) in the way that other arts are by the very conditions of their manifestation. Music is closer to the inner dynamism of process; there are fewer technical (and no concrete) impediments to immediate apprehension, for an entire dimension of the empirical world has been bypassed.
Schopenhauer looked upon Platonic Ideas as objectifying will, but music is
by no means like the other arts, the copy of the Ideas, but the copy of the will itself. This is why the effect of music is so much more powerful and penetrating than that of the other arts, for they speak only of shadows, but it speaks of the thing itself.