  No wonder that Schopenhauer was the darling of composers in the 19th and 20th centuries, for he argued that music has a truly exceptional status among the arts and uniquely reveals the essence of the “in itself” of the world. Music that affords such insight—the only music he deems worthy of the name—is Classical/Romantic, non-programmatic music without a text, or what was termed late in the 19th century, “absolute music.” Unlike all of the other arts, which express or copy the Ideas (the essential features of the phenomenal world), Schopenhauer affirmed that music expresses or copies the will qua thing in itself, bypassing the Ideas altogether.  This puts music and the Ideas on a par in terms of the directness of their expression of the thing in itself (WWR I, 285). In order to understand Schopenhauer’s reasoning for this rather stunning view of the cognitive significance of music, one needs to pay attention to the role of feeling in Schopenhauer’s epistemology, and especially to the feeling of embodiment that a subject can experience by attending to ordinary acts of volition.