Apeiron 1 (10):9-27 (2019)

Authors
Hanne Appelqvist
University of Helsinki
Abstract
This article defends a formalist interpretation of Wittgenstein’s later thought on music by comparing it with Eduard Hanslick’s musical formalism. In doing so, it returns to a disagreement I have had with Bela Szabados who, in his book Wittgenstein as a Philosophical Tone-Poet, claims that the attribution of formalism obscures the role that music played in the development of Wittgenstein’s thought. The paper scrutinizes the four arguments Szabados presents to defend his claim, pertaining to alleged differences between Wittgenstein and Hanslick on their accounts of theory, beauty, rules, and the broader significance of music. I will argue that in each case the similarities between Wittgenstein’s and Hanslick’s respective views outshine possible differences. Ultimately, I will argue that instead of rendering music a marginal phenomenon suited for mere entertainment, formalism –as presented by Hanslick and Wittgenstein, whom I read as influenced by Kant’s aesthetics– underscores music’s ability to show fundamental features of reality and our relation to it. Music does this precisely by being treated as a sensuous yet structured medium that is irreducible to any conceptually determined domain.
Keywords No keywords specified (fix it)
Categories (categorize this paper)
Options
Edit this record
Mark as duplicate
Export citation
Find it on Scholar
Request removal from index
Revision history

Download options

PhilArchive copy

 PhilArchive page | Other versions
External links

Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
Through your library

References found in this work BETA

No references found.

Add more references

Citations of this work BETA

No citations found.

Add more citations

Similar books and articles

Wittgenstein and Musical Formalism.Béla Szabados - 2006 - Philosophy 81 (4):649-658.
Form and Freedom: The Kantian Ethos of Musical Formalism.Hanne Appelqvist - 2011 - Nordic Journal of Aesthetics 22 (40-41):75-88.
Hanslick, Eduard.Alexander Wilfing & Christoph Landerer - 2019 - Internet Encyclopedia of Philosophy.
Musical Profundity: Wittgenstein's Paradigm Shift.Eran Guter - 2019 - Apeiron. Estudios de Filosofia 10:41-58.
Wittgenstein and the Understanding of Music.Roger Scruton - 2004 - British Journal of Aesthetics 44 (1):1-9.
Was Hanslick a Closet Schopenhauerian?Tiago Sousa - 2017 - British Journal of Aesthetics 57 (2):211-229.
Wittgenstein on Mahler.Eran Guter - 2013 - In Danièle Moyal-Sharrock, Volker A. Munz & Annalisa Coliva (eds.), Mind, Language and Action: Contributions to the 36th International Wittgenstein Symposium. Austrian Ludwig Wittgenstein Society.
Is a Kantian Musical Formalism Possible?Thomas J. Mulherin - 2016 - Journal of Aesthetics and Art Criticism 74 (1):35-46.
Absolute Programme Music.Dammann Guy - 2017 - British Journal of Aesthetics 57 (1):71-75.

Analytics

Added to PP index
2020-09-11

Total views
36 ( #276,010 of 2,362,116 )

Recent downloads (6 months)
36 ( #20,695 of 2,362,116 )

How can I increase my downloads?

Downloads

My notes