Ludwig Wittgenstein: Linhas de pensamento e a influência dos experimentos musicais

Abstract

We find in Ludwig Wittgenstein's thought a richness of thought experiments—imaginative movements — which are deeply rooted in the musical experience. His is a thought of enormous fertility for thinking about music, but not (just) because of his musicophilia—which, to be sure, should not be underrated, bearing in mind that few philosophers in the History of Philosophy have dedicated themselves to its grip, with the notable 19th Century exceptions of Schopenhauer and Nietzsche—but principally due the fact that music permeated all of his thought, supplying him with essential touchstones for engendering and creating concepts. If, in the Tractatus Logico-Philosophicus, his first philosophical stance, music appears from the outset as an essentialist concern, after the grammatical turn of the 1930s and in his later writings,—in which his philosophical activity took a different direction—, musical experiments gain a vital preponderance: no longer considered from an ontological perspective, but rather from the perspective of praxis, of musical performance, where notions of understanding and meaning are at stake. For this reason, Wittgenstein calls on the practice of musical performance, and integrates it, in an inventive and fruitful way, in his Gedankenbewegungen or movements of thought. I purpose to call attention to the singularity of Wittgenstein’s thought on music, given the many musical experiments he brings into play, but especially