  Despite these descriptions of music as a privileged meaningful experience in an absurd world, none of the existentialists has undertaken any sustained analysis on the relationship between music, philosophy and the existential condition. Camus interprets positively the formality of music, its lack of discursivity and the abstraction of its relation to the world of flesh (see also his early essay in Camus 1935–1936), features that the latter Merleau-Ponty interprets negatively; but, in the end, the existentialist writers do not give music any detailed consideration.