This book provides the first in-depth exploration of the importance of music for Ludwig Wittgenstein’s life and work. Wittgenstein’s remarks on music are essential for understanding his philosophy: they are on the nature of musical understanding, the relation of music to language, the concepts of representation and expression, on melody, irony and aspect-perception, and, on the great composers belonging to the Austrian-German tradition. Biography and philosophy, this work suggests that Wittgenstein was a composer of philosophy who used the musical form (...) as a blueprint for his own writing and thought. For Wittgenstein music is not alone, but connects and resonates with our cultural forms of life. His relation to composers, especially to Richard Wagner and Gustav Mahler, enables Wittgenstein to address the question of how to do philosophy and compose music in the breakdown of tradition. Unlike his conservative musical sensibility, Wittgenstein’s philosophy is open to musical experiments. Reflecting on his remarks on music makes it possible to compare the therapeutic aim of his philosophical activity with that of music, and thus notice affinities between Wittgenstein and John Cage. Béla Szabados has a Ph.D. in philosophy from the University of Calgary and is professor of philosophy at the University of Regina. His publications include Wittgenstein Reads Weininger (2004), Wittgenstein at the Movies (2011) and Wittgenstein on Race, Gender, and Cultural Identity: Philosophy as a Personal Endeavour (2010). (shrink)

Spengler's work describes how we have entered into a centuries-long "world-historical" phase comparable to late antiquity, and his controversial ideas spark debate over the meaning of historiography.

"Like Hanslick, Professor Payzant is both musician and philosopher; and he has brought the knowledge and insights of both disciplines to this large undertaking." --Gordon Epperson, _Journal of Aesthetics and Art Criticism_.

I argue that Wittgenstein was no lifelong musical formalist. I further contend that the attribution of musical formalism obscures, while the break with it I propose explains, the role that music played in the development of his philosophy of language. What is more, I sketch a perspective on the later Wittgenstein’s remarks on the music and musical understanding that supports my claims. Throughout my discussion, rather than assimilating Hanslick’s and Wittgenstein’s views on music, I point to similarities and differences between (...) them, suggesting that taking snapshots and putting them side by side sheds more light on how they are related to each other. (shrink)

This article explains Wittgenstein's distinction between good, bad, and vacuous modern music which he introduced in a diary entry from January 27, 1931. I situate Wittgenstein's discussion in the context of Oswald Spengler's ideas concerning the decline of Western culture, which informed Wittgenstein's philosophical progress during his middle period, and I argue that the music theory of Heinrich Schenker, and Wittgenstein's critique thereof, served as an immediate link between Spengler's cultural pessimism and Wittgenstein's threefold distinction. I conclude that Wittgenstein's distinction (...) between bad and vacuous modern music is analogous to Schenker's distinction between the compositional fallacies of the progressive and the reactionary composers of his time. Concomitantly, Wittgenstein's philosophically problematic notion of good modern music transcended the conceptual framework of both Schenker and Spengler. In this context, I examine Wittgenstein's remarks on Gustav Mahler as well as his remark on the music of the future as monophony, which, I conclude, should be understood ultimately as an ellipsis of his much later view of musical meaning and intelligibility. (shrink)

The Viennese satirist Karl Kraus called progress a ‘standpoint that looks like movement’ and a ‘mobile decoration’: a politically useful slogan devoid of content. Despite his tendency to think in the revolutionary mode of the tabula rasa, Ludwig Wittgenstein was a cultural conservative, sceptical of progress. He shares this pessimistic scepticism with some, but not all, of the early twentieth-century Viennese writers he read enthusiastically. It would, however, be too simple to claim that Wittgenstein did not believe in the possibility (...) of progress. Rather, he thought it mistaken to confuse progress with continued movement in one direction. Georg Henrik von Wright, Wittgenstein's student and successor at Cambridge, has discussed the ‘myth of progress’ in Wittgenstinian terms; the relevance of these analyses of progress in contemporary political discourse is examined. (shrink)

Musical formalism is often portrayed as the enemy of artistic freedom. Its main representative, Eduard Hanslick, is seen as a purist who, by emphasizing musical rules, aims at restricting music criticism and even musical practices themselves. It may also seem that formalism is depriving music of its ability to have moral significance, as the semantic connection to the extramusical is denied by the formalistic view. In my paper, I defend formalism by placing Hanslick’s argument in a Kantian framework. It is (...) not hard to find Kantian elements in Hanslick’s work, such as his emphasis on the contemplative and disinterested nature of the aesthetic judgment, the nonconceptuality of music’s content, and his insistence that “beauty has no purpose.” I argue further that Hanslick’s formalism is in fact motivated by and manifests the Kantian conception of freedom as self-legislation. Thus understood, the kind of moral significance music may have rests upon its own autonomous rules. (shrink)

If Wittgenstein's later account of language is applied to music, what seems to follow is a version of musical formalism. This is to say that the meaning of music is constituted by the rules of a given system of music, and the understanding of music is the ability to follow these rules. I argue that, while this view may seem unattractive at the outset, Wittgenstein actually held this view. Moreover, his later notion of a rule gives us resources to answer (...) some of the traditional criticisms directed against formalism. (shrink)

The so-called "Big Typescript" is Wittgenstein's first attempt to publish in a book his collected thoughts since his return to Cambridge and to philosophical writing, thus correcting the "serious errors" (Wittgenstein) of his early work. Among the texts in Wittgenstein's estate, the "Big Typescript" is the one that, next to the "Logisch-Philosophische Abhandlung" (the "Tractatus") of 1918, appears to be the most "finished", with a table of contents structured in chapters and sections. It is, however, a fragment, without either title, (...) motto or conclusion. To Wittgenstein, it was important "that the thoughts in [the book] should progress from one subject to another in well-ordered consecutiveness." It is precisely this structure of the "Big Typescript", though ultimately rejected by Wittgenstein, which constitutes the immeasurable value of the text for the study of and as an introduction to Wittgenstein's thinking. (shrink)

This book changes your views on history, civilization, and the world. German philosopher and polymath Oswald Spengler displays his controversial opinions about world history. He defines "culture" as a superorganism which has a lifespan of birth, flourishing, and death, and defines "civilization" as the end-product of culture. He divides the entire history of the world into eight distinct cultures, from which all civilizations, religions, and wars arose. Spengler was criticized for his cataclysmic prediction of the downfall of western civilization in (...) the twenty first century, yet it's shocking to see markers for this prediction in everyday news. He claims that democracy is but the political weapon of money, and that media is the means through which money operates a democratic political system. According to him, the penetration of money's power through a society is one of many signs of the shift from "culture" to "civilization". After reading this, you'll be more learned in history, philosophy, science, mathematics, architecture, music, art, literature, and even Greek and Latin. "When the first volume of The Decline of the West appeared in Germany a few years ago, thousands of copies were sold. Cultivated European discourse quickly became Spengler-saturated. Spenglerism spurted from the pens of countless disciples. It was imperative to read Spengler, to sympathize or revolt. It still remains so." "When Oswald Spengler speaks, many a Western Worldling stops to listen." New York Times. (shrink)

Wittgenstein on the Human Spirit provides a new understanding of Wittgenstein’s discourse as an insightful philosophy of culture, pursued through self-reflection. It offers an edifying perspective on the conceptual underpinnings of culture as a shared expressive spiritual form of life. The ideas investigated in it are highly relevant for discussions in philosophy, aesthetics, anthropology, and cultural studies. The book embraces three studies: The Spirit of Jews, The Spirits of Culture and Civilization, and The Common Spirit of Human Beings. The first (...) discusses Wittgenstein's remarks about Jews, focusing on their place within his philosophical thinking, self-reflection, and European discourse about culture and Jews. It shows how overcoming the anti-Semitic attitude implicit in them set off the major change in his philosophy. The second discusses Wittgenstein’s reflections on the “deterioration of culture” in the modern period, showing how they are related to his remarks about following rules. The third discusses Wittgenstein’s insights regarding the symbolic nature of myth, magic and religion. It suggests that modern human beings and those of ancient cultures possess a common expressive spiritual nature. This enables us to understand expressive practices in other cultures without interpretation. Nonetheless religious belief during the modern period is problematic. (shrink)

Ludwig Wittgenstein is one of the most important, influential, and often-cited philosophers of the twentieth century, yet he remains one of its most elusive and least accessible. The essays in this volume address central themes in Wittgenstein's writings on the philosophy of mind, language, logic, and mathematics. They chart the development of his work and clarify the connections between its different stages. The contributors illuminate the character of the whole body of work by keeping a tight focus on some key (...) topics: the style of the philosophy, the conception of grammar contained in it, rule-following, convention, logical necessity, the self, and what Wittgenstein called, in a famous phrase, 'forms of life'. (shrink)

Essays offer a glimpse of the Vienna-born philosopher's personality, character, and life's work.

This article challenges a widespread assumption, arguing that Wittgenstein and the Austrian composer Arnold Schoenberg had little in common beyond their shared cultural heritage, overlapping social circles in fin-de-ciecle Vienna. The article explores Wittgenstein's aesthetic inclinations and the intellectual and philosophical influences that may have reinforced them. The article culminates in an attempt to form a Wittgensteinian response to Schoenberg's dodecaphonic language and to answer the question as to why Wittgenstein and Schoenberg arrived at very different ideas about contemporary music (...) and the music of the future. (shrink)

Most commentators have underplayed the philosophical importance of Wittgenstein's multifarious remarks on music, which are scattered throughout his Nachlass. In this dissertation I spell out the extent and depth of Wittgenstein's engagement with certain problems that are regarded today as central to the field of the aesthetics of music, such as musical temporality, expression and understanding. By considering musical expression in its relation to aspect-perception, I argue that Wittgenstein understands music in terms of a highly evolved, vertically complex physiognomic language-game, (...) in which fine shades of behavior are logically (semantically) connected with the musical experiences themselves. A musical passage conjoins the multifarious language games that are presupposed in it and the emerging gesture that ultimately insinuates itself into our life. Wittgenstein conceives music as a mode of expression, a path leading from the world of our thoughts and feelings, which in itself is not yet music, toward a gesture which is no longer music, but which belongs to the world of thoughts and feelings. A melody can be located at this crossroads of music, language and the world, and is understood in reciprocal action with language. Musical gesture insinuates itself into our life, for, like a human face, it speaks of and reflects our "knowledge of mankind," and it is ultimately understood only against the background of "the bustle of life," as Wittgenstein calls it. I also argue that Wittgenstein's discussion of musical understanding suggests an important model, albeit not an exclusive one, for understanding language. The musicality of language points first and foremost at the way we use words in the vertically complex language game of expression, and at the intransitive understanding that goes with it. Throughout the dissertation I address a number of unique topics that have rarely, if ever, been investigated in this context. These include inter alia Wittgenstein's 1912-1913 experiments on the perception of rhythm, Oswald Spengler's influence on Wittgenstein's remarks on music, Wittgenstein's reaction to Heinrich Schenker's view of music, and the complex, elusive relation between Wittgenstein's later philosophical views and Arnold Schoenberg's dodecaphonic music. (shrink)