 As is apparent from the above, Nietzsche’s evaluation of musical styles changed along with his philosophical views. Concrete examples of music he praises vary from Wagner’s Tristan and Isolde to Bizet’s Carmen. The clearest set of evaluative claims is found in The Birth of Tragedy, where opposition emerges between Apollonian and Dionysian music. The latter is obviously considered by Nietzsche as superior to the former, as he defines music as the art in which the Dionysian is present in the highest degree. Nietzsche offers little in terms of a clear distinction between the two, but he seems to think of Dionysian music as privileging melodic and harmonic components, whereas Apollonian music stresses rhythmical ones. Two other elements of Nietzsche’s view of music can be singled out, and Schopenhauer’s influence on both is evident. First, Nietzsche believes that music should never be subservient to a text (Nietzsche 1872: §19). Secondly, Nietzsche holds that music ought to avoid tone-painting, which is merely an imitation of the world’s appearance (Nietzsche 1872: §17). But if Nietzsche’s early musical aesthetics is close to Schopenhauer in his negative characterization of what is valuable in music, his positive notion of musical value departs significantly from Schopenhauer’s, as Nietzsche holds that music’s value is partly to be located in its capacity to arouse emotions or induce a certain psychological state (Nietzsche 1872: §2).