 As a means towards a cultural rebirth, Nietzsche advocates in contemporary life, the resurrection and fuller release of Dionysian artistic energies—those which he associates with primordial creativity, joy in existence and ultimate truth. The seeds of this liberating rebirth Nietzsche perceives in the German music of his time (viz., Bach, Beethoven and especially Wagner), and the concluding part of The Birth of Tragedy, in effect, adulates the emerging German artistic, tragic spirit as the potential savior of European culture. As one of his early books, The Birth of Tragedy has a strong Wagnerian and Schopenhauerian flavor, and scholars disagree about the extent to which Nietzsche departs from Schopenhauer in this work and in later works.