The present article tries to show that aesthetics theses that appear in The Birth of Tragedy are not the result of simple Nietzsche's subjective projection on Greek art. This is because, underlying the argumentation of The Birth of Tragedy, there would be a vast historiographical reason whose traces can be found in philological texts that precede Nietzsche's first philosophical work. Keeping this in mind, our article will conduct an investigation in Nietzsche's texts to try to prove that the accusation of "subjective projection" can not be sustained. During the examination, we will try to show that, for example, Nietzsche's understanding of the link between historical appearance of harmony and the Greek Dionysism is closely linked to the positions that appear in their philological studies of the years 1860-1871. Positions that were derived and were legitimized by historicals researches from the nineteenth century.
The Birth of Tragedy; Dionysian; harmony; music; melody; Greek culture