 From this view of music, some normative consequences follow. First, because the analogy between music and the world depends on their being expressions of the same metaphysical Will, and because the Will lies beyond the scope of conceptual knowledge, Schopenhauer condemns imitative music, as this depicts the world by imitating its sonic appearance to a subject, rather than its inner essence. Second, because the knowledge provided by music is superior to discursive knowledge, Schopenhauer dismisses works and genres in which the music is subservient to the lyrics. Third, because Schopenhauer holds the music’s melodic element to be central to its value, he is dismissive of music in which melody is inconspicuous (“In the compositions of today there is more emphasis on the harmony than the melody; I however take the opposite view and regard melody as the core of music, to which harmony relates as does sauce to a roast” Schopenhauer 1851: chapter 19, § 219).