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)

This article addresses the subject of the ekphrastic description of experiencing music. It shows the main differences between ekphrasis and commonly used analysis in music theory and musicology. In approaching the problem of ekphrasis with what is called pure music, I emphasize its ancient understanding, thus differing from Lydia Goehr (2010) and Siglind Bruhn (2000, 2001, 2019). The ekphrastic analysis of the first movement of Arnold Schoenberg’s Six Little Piano Pieces Op. 19 conducted in this article uses the methodology (...) developed by Gottfried Boehm (2014) and Georges Didi-Huberman (2005, 2015, 2017, 2018) in the discipline of art history. This article aims to delineate a new way of researching the art of music, an essential feature of which is the combination of the traditions of analytic philosophy and phenomenology. (shrink)

In this essay I take the opportunity to recast some insights from my extensive study over the last decade of Wittgenstein’s remarks on music into a coherent and concise portrayal of Wittgenstein’s philosophical underpinning and upshots pertaining to his perception of the modern music scene in interwar Austria. The gist of the present essay is to show that, for better or for worse, Wittgenstein’s personal taste in music was powered by philosophical reasoning, which was organic to his philosophical development, and (...) that ultimately his philosophical attitude to the music scene of interwar Austria manifests a deeply probing gradation. I are argue that we can distinguish between four varieties of the absurd in the music of interwar Austria, according to Wittgenstein. First is the nonsensical absurd of the incapability of seeing that the nonsensicality of the form of progress is incomprehensible. This category pertains to music which straightforwardly tries to emulate the various maxims and formulations derived from the form of progress. Such nonsensically absurd music typifies progressive Romantic composers such as Richard Strauss, Max Reger, and the early Arnold Schoenberg. Second is the vacuous absurd of the incapability of seeing what the form of progress renders incomprehensible. This category pertains to music which denounces the predominantly nonsensical maxims and formulations of modernity, thus destining itself to keeping on groping for something which it cannot express. Such vacuously absurd music is best exemplified, in Wittgenstein’s mind, by Josef Labor. Third is the philosophical absurd of rendering what is incomprehensible (from the perspective of a cultured person) comprehensible within the same purview. For Wittgenstein, Mahler’s music betokens such incommensurability, evoking a relativist philosophical puzzle: whether cultural progress is real, and it is us who have been left behind, or whether culture has really been vanquished, and we are the only ones left to notice it. The very thought of an artwork of “a totally different sort” remains invariably hypothetical. Fourth is the praxeological absurd of giving rise to an auxiliary, praxeologically dislodged musical language, replacing the transparency of human gesture with exact rules of comprehensibility. From Wittgenstein’s perspective, the shunning of the expanse of lived experience in a musical language fit for the meaning-blind would be the inglorious spot assigned to Arnold Schoenberg’s vision of the music of the future. (shrink)

The twentieth-century obsession with meaning often fails to address the central questions: Why are we here? Where are we going? In this radical critique of modernity, Eugene (Rochberg-) Halton resurrects pragmatism, pushing it beyond its traditional formulations to meet these questions head on. Drawing on the works of the early pragmatists such as John Dewey, George Herbert Mead, and particularly C.S. Peirce, Meaning and Modernity is an ambitious attempt to reconstruct concepts from philosophical pragmatism for contemporary social theory. Through a (...) vigorous and illuminating dialogue with other perspectives in the social sciences, (Rochberg-) Halton reveals the value of the pragmatic attitude as a mode of thought, one which speaks to the contemporary hunger for significance in a world where rationalized technique has all too often severed subject and object from their living context... Throughout the work is a sustained critique of modern culture in which (Rochberg-) Halton brings his reconstruction of the pragmatic atttude to bear on twentieth-century thought and its counterparts in the expressive arts. His engaging analysis encompasses figures as diverse as Simmel, Freud, Wittgenstein, Schoenberg, Adolph Loos, Mumford, Melville, the "Vienna School of Fantastic Realism," and Doris Lessing. The author's semiotic approach to culture allows him to move freely and easily across many disciplines, including anthropology, sociology, communications, art, literature, and philosophy. This is a work of rare originality and power that is sure to provoke discussion, for Rochberg-Halton creates new premises for understanding the human web of meaning. In a review published in the London Times Literary Supplement, Charles Townshend said that (Rochberg-) Halton's, “answer to the dilemma of modernity is a still more striking synthesis, which he labels ‘critical animism’ (as distinct from primitive animism). Meaning and Modernity belies its conventional exterior: it is a passionate tract against the 'diabolical tyranny of the rational'...He pits his researches into the attitudes of Chicagoans to their household goods and to their city against the abstract semioticians who have emptied signs of their capacity to 'live objectively in the transactions people have with them'...Such humanism will probably strike his fellow social theorists as downright weird, but his work shows that the cracking shell of modernism will provide a rich intellectual agenda.”. (shrink)