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Wittgenstein e a Interpretação Musical. Cruzamentos e Influências
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Orientador(es)
Resumo(s)
Este estudo tem como tarefa fundamental apresentar e defender o cruzamento e a
influência que o fenómeno da interpretação musical exerceu no pensamento de
Wittgenstein e, ao mesmo tempo, numa reciprocidade, como as questões da
compreensão, significação e sentido assumem traços distintivos e fundamentais na
prática interpretativa. O motivo central desta tese procurará mostrar a influência que a
prática musical exerceu no desenvolvimento do seu pensamento, ao mesmo tempo que
se procurará elucidações fecundas para o pensar a interpretação musical. Desde a sua
única obra publicada, o Tractatus, até aos Últimos Escritos, verifica-se no seu
pensamento não só a importância que a música tem, mas a influência de uma prática
interpretativa a actuar em filigrana. Deste modo, a obra musical – como musikalisch
Gedanke – aparece-nos no Tractatus entretecida com a noção de “relações internas” e,
por este motivo, interessa-nos particularmente ilustrar como o esclarecimento da
natureza da lógica nos conduzirá ao esclarecimento da essência da música: nesta
elucidação produzida por Wittgenstein é a a lógica musical que se espelha, exigência de
uma articulação que é fundamental para o tema da autonomia musical. A relação que se
estabelecerá com outros pensadores como Hanslick, H. Schenker e Susanne Langer
mostrará a vitalidade musical do pensamento wittgensteiniano. Na sua filosofia
posterior, a crítica a uma linguagem essencialista, que efectuará com a noção de
Sprachespiel, será fundamental para o argumento central desta tese de uma forma dupla:
por um lado, irá possibilitar o esclarecimento do estatuto do fenómeno da interpretação
musical, constituindo-se cada interpretação como um dos rostos da obra, por outro, a
elucidação da própria noção de jogo de linguagem mostrará a inscrição de uma prática
musical intensa na sua génese. A partir dos cruzamentos efectuados, seguir-se-á a
determinação de noções constitutivas como Aspekte, Erlebnis, Wenn-Gefühl,
procurando-se assim justificar a tese de que na matriz do pensamento wittgensteiniano
está também um intérprete que assobia, que canta, que toca. À compreensão da
dizibilidade da linguagem como um tema musical alia-se a compreensão de se poder
com um gesto exprimir o tema musical: é em direcção a este alargamento da noção de
compreensão, como a possibilidade de exprimir o inexprimível, que as questões
interpretativas musicais poderão obter uma elucidação iluminada pelo pensamento
wittgensteiniano.
The main task of this thesis is to present and defend the crossover and influence that the phenomenon of musical performance exerted on Wittgenstein’s thought; simultaneously, it argues for and adopts the viewpoint that questions about understanding, meaning and sense, take on distinct, fundamental aspects in the interpretative practice. Accordingly, its central motif consists in showing that a musical practice impacted the development of Wittgenstein’s thought, whilst concurrently seeking fertile elucidations to think about musical performance. Indeed, since the Tractatus – famously, Wittgenstein’s single philosophical published work – until the Last Writings, not only is the importance of music manifest, but the input of an interpretative practice is also effective throughout his thought, like a filigree. Thus, the musical work – as musikalisch Gedanke – shows up in the Tractatus, entwined with the notion of “internal relations”, and, for this reason, it is particularly interesting that we illustrate how the clarification of the nature of logic will lead us to the clarification of the nature of music. This elucidation – written so early by Wittgenstein – mirrors musical logic, a necessary requirement for thinking about musical autonomy, a theme at play in the relations we establish between Wittgenstein and other authors, namely, Hanslick, Schenker, and Susanne Langer. These relations reveal his work as musically vital. In his late philosophy, the critique brought to bear on an essentialist conception of language through the notion of Sprachspiel, is of major significance for our main argument, and this to a double effect: on the one hand, it allows to make clear the status of the phenomenon of musical performance, every performance establishing itself as one of various faces of the work; on the other hand, the elucidation of the notion of Sprachspiel itself will show the inscription of an intense musical practice at its genesis. Starting from the delineation of crossovers and influences, we then proceed to determine constitutive notions such as Aspekte, Erlebnis, and Wenn-Gefühl, thus justifying the thesis that in Wittgenstein’s thought we can also find an interpreter who whistles, sings, and plays. Finally, the possibility of expressing the inexpressible, the sayability of language as a musical theme, as well as the comprehension that a gesture can express a musical theme, all contribute to expand the notion of understanding, consequently validating the idea that interpretative musical questions can be further illuminated by Wittgenstein’s philosophy.
The main task of this thesis is to present and defend the crossover and influence that the phenomenon of musical performance exerted on Wittgenstein’s thought; simultaneously, it argues for and adopts the viewpoint that questions about understanding, meaning and sense, take on distinct, fundamental aspects in the interpretative practice. Accordingly, its central motif consists in showing that a musical practice impacted the development of Wittgenstein’s thought, whilst concurrently seeking fertile elucidations to think about musical performance. Indeed, since the Tractatus – famously, Wittgenstein’s single philosophical published work – until the Last Writings, not only is the importance of music manifest, but the input of an interpretative practice is also effective throughout his thought, like a filigree. Thus, the musical work – as musikalisch Gedanke – shows up in the Tractatus, entwined with the notion of “internal relations”, and, for this reason, it is particularly interesting that we illustrate how the clarification of the nature of logic will lead us to the clarification of the nature of music. This elucidation – written so early by Wittgenstein – mirrors musical logic, a necessary requirement for thinking about musical autonomy, a theme at play in the relations we establish between Wittgenstein and other authors, namely, Hanslick, Schenker, and Susanne Langer. These relations reveal his work as musically vital. In his late philosophy, the critique brought to bear on an essentialist conception of language through the notion of Sprachspiel, is of major significance for our main argument, and this to a double effect: on the one hand, it allows to make clear the status of the phenomenon of musical performance, every performance establishing itself as one of various faces of the work; on the other hand, the elucidation of the notion of Sprachspiel itself will show the inscription of an intense musical practice at its genesis. Starting from the delineation of crossovers and influences, we then proceed to determine constitutive notions such as Aspekte, Erlebnis, and Wenn-Gefühl, thus justifying the thesis that in Wittgenstein’s thought we can also find an interpreter who whistles, sings, and plays. Finally, the possibility of expressing the inexpressible, the sayability of language as a musical theme, as well as the comprehension that a gesture can express a musical theme, all contribute to expand the notion of understanding, consequently validating the idea that interpretative musical questions can be further illuminated by Wittgenstein’s philosophy.
Descrição
Palavras-chave
Wittgenstein Filosofia Interpretação musical Lógica Relações internas Expressão Sprachespiel Aspekte Absicht Meinen Philosophy Musical performance Logic internal relations Expression