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Abstract Wagner is an important German composer and aesthetic theoretician. Both German mythology tradition, absolute idealism and the impressions of Schopenhauer's pessimist philosophy can be seen in his philosophical system. Wagner's musical drama emerge, with an ideal to revive the artistic synthesis in the golden era of Greek tragedy and puts forward a new combined form of arts, which is based on the belief that all forms of art can be performed together. Wagner explains this theorem as Gesamtkunstwerk. He emphasizes that synthesizing music with poetry will recreate high tragic art and all forms of art will regain their freedom thanks to this synthesis. Wagner does not deal with music merely as music. From his point of view, music is determined by a philosophical paradigm. This paradigm develops sometimes through Schopenhauer, sometimes through Buddhism and sometimes at an absolute idealist point. What has directed his works as ''the music of the future'' up to date is that he added mythical and metaphoric meanings to all of his operas, which has brought the name of Wagner to the point of being known as a philosopher as well as a composer. In this research, we examined in which system and structural arrangement metaphysical and philosophical themes that were existent in Wagner music developed, how Wagner music turned into an aesthetic theorem as a result of this transformation and the philosophical basis of Wagner's featuring musical idea. At this point, Wagner's operas can't be considered as merely an opera. His music develops through idealistic metaphysical contents and connotations and it enables the period of volition's Buddhist negation, Schopenhauer, Aristotle, Kant and Hegel to be seen clearly in a work of music and his art. Key Words: Philosophy of music, Aesthetics, Wagner, Art philosophy, Aesthetics of music

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