So geht es uns in der Musik: erst muß man eine Figur und Weise überhaupt hören lernen, heraushören, unterscheiden, als ein Leben für sich isolieren und abgrenzen; dann braucht es Mühe und guten Willen, sie zu ertragen, trotz ihrer Fremdheit, Geduld gegen ihren Blick und Ausdruck, Mildherzigkeit gegen das Wunderliche an ihr zu üben -: endlich kommt ein Augenblick, wo wir ihrer gewohnt sind, wo wir sie erwarten, wo wir ahnen, daß sie uns fehlen würde, wenn sie fehlte: und nun wirkt sie ihren Zwang und Zauber fort und fort und endet nicht eher, als bis wir ihre demütigen und entzückten Liebhaber geworden sind, die nichts Besseres von der Welt wollen als sie und wieder sie. – So geht es uns aber nicht nur mit der Musik: gerade so haben wir alle Dinge, die wir jetzt lieben, lieben gelernt.
So we are doing in music: first one has to learn to hear a character, learn to hear the way, hear, distinguish, isolating and defining a life for themselves, then it takes effort and good will to endure, despite their strangeness, patience against her views and expressions and to practice, (heartily) mildness against the miraculous in it -: finally a moment comes where we are used to (her), where we expect, we suspect that they would be missed if it was missing: and now she enchants her force and spells upon us and does not end until we became their humble and enraptured lovers who wish nothing better (from the world) than she (it), she again. - So we are doing not only with music: we learned to love all things we love now the same way.The paragraph is about the getting-to-know and the appropriation of music as a metaphorically transferable image of love, or rather the appropriation anything perceptible. Love as a will to attachment.The interesting idea is the fundamental process from unknown to known by passing a small but significant hurdle. A hurdle of strangeness. Assuming that the minds views, or concerning music we would rather call them tastes, are a web of associations weaved by past, and thus familiar experiences, the elevation of the hurdle depends on how much strangeness is to handle with. For every amount of unheard note, new accord, unknown structure the sum of its entire strangeness ends up in the effort one needs to put in. Nietzsche uses even a more exalted form of effort, a challenging confrontation with the unknown: isolating and defining a life for themselves. It suggest the challenge must intrinsically be wanted, otherwise one won’t invest themselves as much as they need to in order to define a whole new life. Said combined openness is a freely chosen attitude.Interestingly Nietzsche used the word Musik, a feminine noun in German, as the exemplary image to attachment. Speaking about love and calling its provenance by she wakes a certain reminiscence of the gender-related femininity. Further music possesses to some extent similar characteristics to femininity as a desired conjugal image, at least in a symbolic manner: potential partners look attractive if they find the right balance between appealing novelty and convenient habits as music keeps interest only if its had its refreshing as well its recurrent, addicting moments every time you listen to it.
Possibly since the pace of reinventing our habits proves to be rather sluggish, even lethargic to some extent, the need for novelty cries out even more. It isn’t only about music or relationships, perhaps the whole life pursues a never-ending reinventing itself mannerism. Thereby joy would come from those challenging, vivid moments of obscure strangeness rather than the moments of leaning back, admiring our achievements in order to find joy in memory and the bygone.