Kierkegaard, Nietzsche, and music

Kierkegaard's pseudonym has a different perspective on music, but I somehow want to assimilate it into my own philosophy.

Anthony Kenny (philosopher) in "Philosophy in the Modern World" writes:

"Music, we are told, is of all the arts the one most capable of expressing sheer sensuality. The rather unexpected reason we are given for this is that music is the most absract of the arts. Like language it addresses the ear: like the spoken word, it unfolds in time, not in space. But while language is the vehicle of spirit, music is the vehicle of senusality."

This seems to demote music from the lofty rank Nietzsche gives it, but lets see. Kenny goes on:

" . . . the development of music and the discovery of sensuality are both in fact due to Christianity. . . . it took Christianity to separate out sensuality by contrasting it with spirit."

In Greece, we find sensuality and spirit in an undifferentiated, homogeneous whole; but Christianity made the two distinct.

Says K's pseudonym:

"If I imagine the senual erotic as a principle, as a power, as a realm characterized by spirit, that is to say characterized by being excluded by spirit, if I imagine it concentrated in a single individual, then I have the concept of the spirit of the sensual erotic."

This is very close to Nietzsche's Dionysian spirit, where language - for the psuedonym - signifies the Apollonian spirt.

In its immediacy this 'spirit' can only be expressed 'in music'.

Kierkegaard compliments Nietzsche even more:

"When he (the aesthete) is interpreted in music, on the other hand, I do not have a particular individual, I have the power of nature, the demonic, which as little tired of seducing, or is done with seducing, as the wind is tired of raging, the sea of surging, or a waterfall cascading down from its height."

This has parallels to Nietzsche's 'superman' and elements in the Dionysian spirit.