Instead of choosing between reading Nietzsche's perspectivism as a metaphysical thesis or as one relating to his critique of traditional morality, this paper intends to show that these are but two sides of the same coin. As regards the metaphysical position, I argue that perspectivism is a version of idealism that critiques the cogency of the `thing-in-itself,' thereby moving beyond the appearance/reality distinction whilst retaining the fundamental tenant that the subjective contribution to reality is irreducible. As regards Nietzsche's transvaluation of all values, I argue that the notion of perspectivism is utilized to critique the idea of the `Good in-itself,' thereby shifting the focus of morality from that of universally applicable prohibitions and obligations to a sort of virtue ethics in which the subject's unique perspective is given expression in and through their creation of values. Given that, I argue for a certain continuity in Nietzsche's thought, such that perspectivism is best seen as an argument against realism, the basic tenant of which - i.e. the inconceivability of the `in-itself' - remains constant even whilst Nietzsche's interests shift during the evolution of his writings.

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This Master's thesis deals with a critique of popular music by the British conservative philosopher Roger Scruton. It is based on a premise that this critique is not purely aesthetic, as it is deeply rooted in Scruton's conception of art, culture, and man. The first part of the thesis, therefore, deals with this broader context, and its outcome is an explanation of the reasons why Scruton rejects popular music as an integral part of popular culture. The second part of the thesis focuses on Scruton's philosophy of music, in other words, on questions of musical aesthetics: what the ontological status of music is, what the nature of its meaning is, what its value is, and what its 'ethical power' is. The third part is devoted to the critique of popular music itself: first, the concept of popular music is clarified, and then the outputs of the two previous chapters are linked to fully grasp Scruton's condemnation of popular music. In the end, the thesis points to problematic aspects of Scruton's theory: it questions the adequacy of applying the model of evaluating classical music to the case of popular music.