Wittgenstein has written a great number of remarks relevant to aesthetical issues: he has questioned the relation between aesthetics and psychology as well as the status of our norms of judgment; he has drawn philosophers attention to such topics as aspect-seeing and aspect-dawning, and has brought insights into the nature of our aesthetic reactions. The examination of this wide range of topics is far from being completed, and the purpose of this book is to contribute to such completion. It gathers (...) both papers discussing some of Wittgenstein s most provocative and intriguing statements on aesthetics, and papers bringing out their implications for art critic and art history, as well as their significance to epistemology and to the study of human mind.". (shrink)

Ce livre se veut une lecture d'ensemble des reflexions que Wittgenstein a consacrees aux questions esthetiques concernant la musique. Il s'attache notamment a explorer les fonctions de l' entendre comme un outil conceptuel susceptible de nous aider a analyser nos manieres de comprendre cet art et a mieux definir ses proprietes expressives et son pouvoir emotionnel. Plus generalement, l'approfondissement de ces thematiques a pour objectif la definition d'une strategie pour re-penser l'acte performatif et l'experience auditive.

Wittgenstein has often explored language games that have to do with musical objects of different sizes (phrases, themes, formal sections or entire works). These games can refer to a technical language or to common parlance and correspond to different targets. One of these coincides with the intention to suggest a way of conceiving musical understanding. His model takes the form of the invitation to "hear (something) as (something)": typically, to hear a musical passage as an introduction or as a conclusion (...) or in a certain tonality. However one may ask to what extent or in what terms (literal or metaphorical) these procedures, and usually the intervention of language games, is requested by our common ways of understanding music. This article shows through the use of some examples that aspectual perception inherent to musical understanding does not require language games as a necessary condition (although in many cases the link between them seems very strong), in contradiction with the thesis of an essential linguistic character of music. At a basic level, it seems more appropriate to insist on the notion of a game: to understand music means to enter into the orbit of "music games" which show an autonomous functioning. Language games have, however, an important function when we develop this comprehension in the light of the criteria of judgment that substantiate the manner in which music is incorporated in and operates within specific forms of life. (shrink)

The discussion about the uses of the concept “musical object” highlights the difficulties of the project – put forward by Pierre Schaeffer (1966) – of basing its definition on the idea of “objet sonore”. Moreover, the proposal to assimilate the functions of the “objet sonore” to those fulfilled by a “musical work” turns out to be no less problematic. A new definition is proposed: a musical object is a social object resulting from the inscription of perceived sound(s), or of the (...) acoustic event(s)/object(s), in a reference system recognized as “musical” by a group of (minimally) two people. (shrink)

Metamorfosi del tragico : Beethoven fra Nietzsche e Michelstaedter -- Riflessioni sul silenzio : fra Adorno e Jankélévitch -- Musica e fenomenologia -- Musica nel museo : riflessioni su un tema di Gadamer -- ermeneutica della musica? -- Prospettive per l'estetica della musica.

Comment l'enregistrement a-t-il modifié les manières d'être de la musique?Quelles incidences a-t-il eu sur nos façons d'interpréter et d'écouter les oeuvres ou les improvisations? Comment est-il devenu un outil dans la construction d'un répertoire, d'une tradition, voire d'un genre musical? Quel est son rôle dans la recherche musicologique? Voilà les questions, tant philosophiques que musicologiques, que cet ouvrage se propose d'aborder, en prenant en compte aussi bien la musique savante que les musiques populaires.

I. Dans un texte récent, le compositeur français Jean-Luc Hervé expose ainsi son projet d’une œuvre conçue pour un espace public, notamment un jardin : (…) une génération totalement aléatoire de son, si elle permet de varier continuellement le matériau sonore, interdit par définition toute construction musicale. Il est impossible par cette méthode de façonner des formes et de proposer à l’auditeur une écoute détaillée. Il ne peut reconnaître aucune forme, aucun objet musical (geste, phrase)....

Starting from the context in which Wittgenstein thinks of the concepts of “seeing-as” and “hearing-as”, the basic relation is clarified between the question of representation, musical understanding, and the theory of musical expressiveness. The points of views of Wollheim, Scruton, Levinson, and Ridley are discussed, in a re-consideration of the notions of hearing and understanding within Wittgenstein’s “last philosophy”.

The article examines some of the consequences of the migration of musical works in cyberspace, particularly with regard to their ways of being and the ways in which we listen to them. Streaming is interpreted as the last stage in the expansion of a phenomenon that arose with the advent of phonography, namely, the ubiquity and availability of the works. A new development consists in the production of musical units in modular terms: works can consist of independent parts, which can (...) be replaced or constituted, in an order that depends on the user, taking inspiration from the model of the playlist. The diffusion of works on the web has also facilitated the development of the remix practice, changing listening standards and generating new conceptual conflicts concerning the identity of the works. The web weakens the distinction between the medium of communication and the medium of recording. It also favors the formation of new cognitive dispositions and generates more flexible and interactive ways of listening, generally different from those implicated in the era of the disc. (shrink)

What do we mean when we talk about the identity of a musical work and what does such an identity involve? What in fact are the properties that make it something worth protecting and preserving? These issues are not only of legal relevance; they are central to a philosophical discipline that has seen considerable advances over the last few decades: musical ontology. Taking into account its main theoretical models, this essay argues that an understanding of the ontological status of musical (...) works should acknowledge the irreducible ambivalence of music as an "art of the trace" and as a "performative art." It advocates a theory of the musical work as a "social object" and, more specifically, as a sound artefact that functions aesthetically and which is based on a trace informed by a normative value. Such a normativity is further explored in relation to three primary ways of conceiving and fixing the trace: orality, notation and phonography. (shrink)