 It is more daunting a task to reconstruct Nietzsche’s views on music after The Birth of Tragedy. In addition to the already mentioned distancing from Wagner, a relevant change in Nietzsche’s view is found in some remarks from Human, All Too Human (1878), which constitute a wholesale rejection of his earlier views concerning the relationship between music and language. In this work, musical meaning and expressiveness are described as a product of music’s longstanding association with poetic language and expressive gestures (Nietzsche 1878: § 215–16). Only through these associations is it possible for instrumental music to acquire meaning: