Wittgenstein's contribution to musical aesthetics is not often discussed, which is surprising, given his rare musicality and musical connections. His distinctive achievement is to have focused on the question of musical understanding, and to have connected this with two other philosophical problems: the nature of the first-person case, and the understanding of facial expressions. Wittgenstein's third-person approach to philosophical psychology leads him to emphasize the role of performance in the understanding of music, and also to introduce an ‘intransitive’ concept of (...) expression. At times Wittgenstein seems to be arguing for an entirely non-relational account of musical meaning; however, a proper analysis of the first-person case shows that his theory of musical understanding might allow that, at some level, you understand a piece of music only if you imaginatively grasp the state of mind expressed by it. (shrink)

In 1931, Wittgenstein listed ten influences on his intellectual development: ‘I don’t believe I have ever invented a line of thinking,’ he wrote, ‘I have always taken one over from someone else. I have simply straightway seized upon it with enthusiasm for my work of clarification. That is how Boltzmann, Hertz, Schopenhauer, Frege, Russell, Kraus, Loos, Weininger, Spengler, Sraffa have influenced me.’ (CV, 1980, p.19) The order in which these names occur is probably the order in which Wittgenstein encountered them, (...) or their ideas. As we shall see, the title of this article derives from Kraus. But its subject is Loos’s influence on Wittgenstein. (shrink)

I was born in Philadelphia, in 1928. I stayed there until I went through undergraduate school at the University of Pennsylvania, then went on to Harvard for a couple of a years in a research fellowship, and graduate school. When I was done with that, went over to MIT, and I've been in Boston ever since, around Boston since about..