This page intentionally left blank M U S I C , P H I L O S O P H Y, A N D M O D E R N I T Y Modern philosophers generally assume that music is a problem to which philosophy ought to offer an answer Andrew Bowie’s Music, Philosophy, and Modernity suggests, in contrast, that music might offer ways of responding to some central questions in modern philosophy Bowie looks at key philosophical approaches to music ranging from Kant, through the German Romantics and Wagner, to Wittgenstein, Heidegger, and Adorno He uses music to re-examine many current ideas about language, subjectivity, metaphysics, truth, and ethics, and he suggests that music can show how the predominant images of language, communication, and meaning in contemporary philosophy may be lacking in essential ways His book will be of interest to philosophers, musicologists, and all who are interested in the relation between music and philosophy a n d r e w b o w i e is Professor of Philosophy and German at Royal Holloway, University of London His many publications include Aesthetics and Subjectivity: From Kant to Nietzsche (2003) MODERN EUROPEAN PHILOSOPHY General Editor Robert B Pippin, University of Chicago Advisory Board Gary Gutting, University of Notre Dame Rolf-Peter Horstmann, Humboldt University, Berlin Mark Sacks, University of Essex Some recent titles Daniel W Conway: Nietzsche’s Dangerous Game John P McCormick: Carl Schmitt’s Critique of Liberalism Frederick A Olafson: Heidegger and the Ground of Ethics G¨unter Z¨oller: Fichte’s Transcendental Philosophy Warren Breckman: Marx, the Young Hegelians, and the Origins of Radical Social Theory William Blattner: Heidegger’s Temporal Idealism Charles Griswold: Adam Smith and the Virtues of Enlightenment Gary Gutting: Pragmatic Liberalism and the Critique of Modernity Allen Wood: Kant’s Ethical Thought Karl Ameriks: Kant and the Fate of Autonomy Alfredo Ferrarin: Hegel and Aristotle Cristina Lafont: Heidegger, Language, and World-Disclosure Nicholas Wolsterstorff: Thomas Reid and the Story of Epistemology Daniel Dahlstrom: Heidegger’s Concept of Truth Michelle Grier: Kant’s Doctrine of Transcendental Illusion Henry Allison: Kant’s Theory of Taste Allen Speight: Hegel, Literature, and the Problem of Agency J M Bernstein: Adorno Will Dudley: Hegel, Nietzsche, and Philosophy Taylor Carman: Heidegger’s Analytic Douglas Moggach: The Philosophy and Politics of Bruno Bauer R¨udiger Bubner: The Innovations of Idealism Jon Stewart: Kierkegaard’s Relations to Hegel Reconsidered Michael Quante: Hegel’s Concept of Action Wolfgang Detel: Foucault and Classical Antiquity Robert M Wallace: Hegel’s Philosophy of Reality, Freedom, and God Johanna Oksala: Foucault on Freedom B´eatrice Longuenesse: Kant on the Human Standpoint Wayne M Martin: Theories of Judgment Heinrich Meier: Leo Strauss and the Theologico-Political Problem Otfried Hoeffe: Kant’s Cosmopolitan Theory of Law and Peace B´eatrice Longuenesse: Hegel’s Critique of Metaphysics Rachel Zuckert: Kant on Beauty and Biology M U S I C , P H I L O S O P H Y, A N D MODERNITY ANDREW BOWIE Royal Holloway, University of London CAMBRIDGE UNIVERSITY PRESS Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo Cambridge University Press The Edinburgh Building, Cambridge CB2 8RU, UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521877343 © Andrew Bowie 2007 This publication is in copyright Subject to statutory exception and to the provision of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press First published in print format 2007 eBook (EBL) ISBN-13 978-0-511-35443-4 ISBN-10 0-511-35443-6 eBook (EBL) ISBN-13 ISBN-10 hardback 978-0-521-87734-3 hardback 0-521-87734-2 Cambridge University Press has no responsibility for the persistence or accuracy of urls for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate For James 414 m u s i c , p h i l o s o p h y, a n d m o d e r n i t y of the Hegelian position, but we would then be faced again with the problem that reflexivity does not encompass all that is at issue in selfconsciousness One is, therefore, confronted with a situation in which the theoretical form cannot represent the content in question As we have seen, though, it is mistaken to think that reaching the limits of what is articulable in conceptual form means that one is left with mysticism or mere indeterminacy Dahlhaus gives an example of the alternative to this view of conceptuality when he contends that Hanslick’s equation of music’s untranslatability into verbal language with its indeterminacy and lack of an object is mistaken, because ‘translations [of music into language] not aim at objects or states of affairs which can be designated by words or sentences, but at the meaning and sense’ of music itself The point is that there is no ‘relationship of representation between represented feeling and representing music’ (Dahlhaus 1988: 333), which means that other sorts of relationship between language and music, of the kind apparent in metaphor’s enabling of nonrepresentational connections between things, or in gesture’s or dance’s evocation of things, have to be brought into play In the preceding chapters we have seen that if we stop thinking of language as essentially based on description and representation, we open up other intersubjectively intelligible possibilities for expressing what is unsayable in a theory In Philosophical Investigations Wittgenstein offers the following exchange about someone crying out in pain: ‘“So you are saying that the word ‘pain’ really means the crying?” – On the contrary; the verbal expression of pain replaces the crying and does not describe it’ (Wittgenstein 1984: 357) This leads to his remark, cited in chapter 8, that a pain sensation ‘is not a something, but it is not a nothing either The paradox only disappears if we break radically with the idea that language always only functions in one way, always serves the same purpose: conveying thoughts – whether these are thoughts about houses, pains, good and evil, or whatever’ (ibid.: 376–7) If immediate self-consciousness is also ‘not a something’, but ‘not a nothing either’, the sense that the theoretical form of explanation cannot represent its content need no longer seem so problematic Our responses to things that are not a something and not a nothing either can take a whole variety of forms, but music seems particularly apt in relation to self-consciousness because of its inherent relationship to feeling In discussing the idea of the ‘feeling (of) self’ (‘Selbstgef¨uhl’),30 30 Sartre bracketed the ‘of’ in ‘conscience (de) soi’ in order to try to get away from the duality that the term involves As Novalis puts it: ‘Feeling cannot feel itself.’ conclusion 415 Frank says of Heidegger’s related notion of ‘Befindlichkeit’, which has to with how one ‘finds oneself’, in the sense of ‘how one is’, that it expresses itself in moods ‘like a [musical] tonic or a colouring which unthematically suffuses the life of our mind’ (Frank 2002: 15) ‘Selbstgef¨uhl’ is not an intentional object of consciousness, but it is undoubtedly present as part of what consciousness is Music’s ability to express this non-intentional way of being of the subject should, in the terms I am trying to establish, not be seen as a merely metaphorical circumvention of the real issue It is rather a demonstration of the limits of a theoretical approach, reminding one of the other ways in which we can relate to matters that can be inaccessible to discursivity Only because there is music can we have an articulated sense of what suffuses our minds in this manner The heading of this section, ‘Music as philosophical expression’, is another way of referring to what in the Introduction I termed the ‘philosophy of music’ in the subjective genitive, in which philosophy is seen as emerging from music, instead of determining it as an object Music does not describe or give discursive answers to philosophical problems because its relationship to philosophy is not representational It is to be regarded rather as a resource for responding to how certain kinds of philosophical issue impinge on our lives Precisely because a musical response is generally not discursive and representational it may capture or influence aspects of these issues which philosophy may not Music is no doubt irrelevant to many philosophical debates, but nothing is good for everything, and, given the striking absence of music from so much contemporary philosophical discussion, it is more interesting to reflect on the implications of that absence than to contribute to its continuation In the preceding chapters I have at times rhetorically emphasised the limitations of ‘philosophy’, instead of just seeking to explore philosophy’s limits My aim has been to offer ways of responding to the fact that what is at present practised in many areas under the name of philosophy, particularly in the analytical tradition, has in many respects diminished in public significance, to the point where many non-philosophers (and plenty of philosophers as well) no longer see the point of much that is being argued about There must always be a place for detailed philosophical argument, but it is worth pondering how many arguments are generated at present by the representational premises which I have been concerned to question via music If we still wish philosophy to be one of the resources for generating meaning and for coming to terms with modern existence, it needs to address more 416 m u s i c , p h i l o s o p h y, a n d m o d e r n i t y than the merely theoretical side of those to whom it speaks Whatever doubts one may have about giving music a more emphatic role in this respect, it does at least demonstrably address real needs in many different kinds of society in a way that much professional philosophy often does not The example of self-consciousness and music can serve, then, as a model for a philosophical approach that engages with some of the concerns about philosophical argument and its role in cultural life which I have considered in this section In order to understand the significance of the simultaneous development in the latter half of the eighteenth century of an intense concentration on self-consciousness, which, as Frank has shown (1991), anticipates many aspects of contemporary debate in the philosophy of mind, and the – in many ways culturally more significant – flowering of musical expression from Mozart to Wagner, we need an approach that can justice to interrelations between domains of cultural life Arriving at a true ‘theory of selfconsciousness’ cannot be decisive in this respect, because the theory will not comprehend what we only have access to by actively engaging with the music of this era This self-understanding may sometimes more for us than a theory, though it does not preclude the kind of illumination which theories provide An example from another philosophical domain can elucidate what is intended here Cavell has contrasted two kinds of moral philosophers, the ‘legislators’, and the ‘moral perfectionists’ The former think that the problems of moral philosophy would be resolved by establishing the right moral or political rules, and the latter, while acknowledging the need for the legislators, insist, as Putnam puts it in a discussion of Levinas, that ‘there is a need for something prior to principles or a constitution, without which the best principles and the best constitution would be worthless’ (Critchley and Bernasconi 2002: 36) This contrast between what can be achieved by propositionally expressed rules and what needs to be in existence before those rules can be felt to be compelling echoes some of the reasons why music comes to be philosophically significant in new ways in the modern period In the same discussion Putnam considers the Hebrew word ‘hine’ which ‘performs the speech-act of calling attention to, or presenting, not describing’ so that ‘hineni! (‘here am I!’) performs the speech-act of presenting myself, the speech-act of making myself available to another’ He links this to Levinas’ distinction between the ‘saying and the said’, such that ‘if by a “said” we mean the content of a proposition, then conclusion 417 when I say hineni there is no “said”’ (ibid.: 38–9) What I am in such presentation is an openness to the other, not something that could be captured in what I could say about myself or what could be said about me Simon Critchley talks of Levinasian ‘saying’ as ‘a verbal and possibly also non-verbal ethical performance a performative doing that cannot be reduced to a propositional description’ (ibid.: 18) Music, as a ‘performative doing’, relates to the need for ways of being human which inherently resist what could be said about them propositionally This does not mean that there is no musical equivalent of the ‘said’, which functions much as many automatised forms of language do, such that, in Adorno’s terms, convention takes over from expression However, the desire for music to be more than this lies behind much of the significance of music for philosophy explored in the preceding chapters At present the dominant forces in philosophy are still mainly focused on ‘the said’, to the point where even countenancing what may be missed by this focus is often regarded as philosophically disreputable The history of music’s entanglement with philosophy suggests that this attitude may be seriously mistaken REFERENCES Adorno, T W (1993) Beethoven: Philosophie der Musik (Frankfurt: Suhrkamp) (1996) Probleme der Moralphilosophie (Frankfurt: Suhrkamp) (1997) Gesammelte Schriften (Frankfurt: Suhrkamp) (20 vols.) 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(2001) Die Offentlichkeit der Vernunft ¨ und die Vernunft der Offentlichkeit Festschrift f¨ur J¨urgen Habermas (Frankfurt: Suhrkamp) Witkin, Robert (1998) Adorno on Music (London, New York: Routledge) Wittgenstein, Ludwig (1969) On Certainty (Oxford: Blackwell) (1980) Culture and Value (Oxford: Blackwell) (1981) Zettel (Oxford: Blackwell) (1982) Wittgenstein’s Lectures, 1932–35 (Oxford: Blackwell) (1984) Tractatus logico-philosophicus Tageb¨ucher 1914–1916 Philosophische Untersuchungen (Frankfurt: Suhrkamp) (1993) Philosophical Occasions 1912–1951 (Indianapolis, Cambridge: Hackett) (1999a) Denkbewegungen Tageb¨ucher 1930–1932, 1936–1937 (Frankfurt: Fischer) (1999b) Wiener Ausgabe (Vienna, New York: Springer) ˇ zek, Slavoj (1996) The Indivisible Remainder: An Essay on Schelling and Related Ziˇ Matters (London: Verso) ˇ zek, Slavoj and Dolar, Mladen (2002) Opera’s Second Death (New York, London: Ziˇ Routledge) INDEX References to the relationships between philosophy, language, and music are so frequent that they have not been listed Adorno, T W 27, 57, 87, 111, 117, 119, 120–1, 125–6, 144–5, 178, 183–5, 207–8, 212, 217–18, 309–75, 393, 401 and Horkheimer, M 35, 241, 309–10 and Wagner 228–40, 241, 311 Agamben, G 165 alienation 314–15, 343 Apel, K.-O 261 Austin, J L 386–91 Ayler, A 399 Bach, J S 83n, 143 Barenboim, D 2, 214, 241, 404–10 Beethoven L van 28–9, 70, 76–7, 99, 100, 111, 118, 125, 133, 142–3, 150, 172, 191–2, 218–220, 221–2, 225–7, 349–50, 352–5, 360, 367, 386, 408 Eroica 15–16, 124 Benjamin, W 183, 232–3, 343, 385 Berg, A 183, 259, 345n Besseler, H 292–99, 303, 306–8 Bizet, G 248 Brahms, J 31 Brandom, R 12, 25, 106–123, 134, 139, 329, 346, 409 Bruckner, A 30, 109, 133, 239, 348, 363 Burnham, S 399, 403 Cavell, S 13, 113, 116, 335, 385–96, 416 Coltrane, J 188 Conant, J 267 Condillac, E B de 55–9 Cook, N 16n, 403 Cooper, D 17, 114, 122 Critchley, S 417 Dahlhaus, C 12, 23, 26, 76–7, 141, 142–4, 149, 167, 170, 218–19, 400, 414 on Wagner 240–6 dance 158, 294, 307 Danto, A Davidson, D 6, 9, 17, 18, 50, 114, 331, 359 Derrida, J 56, 326 Descartes, R 52, 306, 311–12, 387 Dewey, J 82, 89, 269 Diamond, C 265–6 Dionysus and the Dionysian 83, 132, 176–7, 186–93, 250, 254 Eisler, H 294 Emerson, R W 387 emotion 9, 20–31, 76, 200, 340 epistemology 44, 108, 128, 129–30, 306, 323, 335–6, 337, 384, 392, 413 ethics and morality 139, 171–2, 179, 203–9, 210, 212, 277, 322, 324, 398n, 406n, 416–17 evil 172–6, 204 expression 27, 60, 113, 234, 287, 340, 342–3, 362, 391–2, 394, 396 feeling 19, 20–31, 38, 66, 68, 74, 79, 85, 90–3, 95, 101, 126, 127, 129, 133, 142, 154–6, 162, 168–9, 181, 219, 222–4, 250, 252, 288, 303, 358, 384, 414–15 Feuerbach, L 168–9, 217, 220, 246–7 Fichte, J G 90–1, 94, 148 Fine, A 336 form 15–16, 28, 128–9, 159, 359–60 Foucault, M 319 Frank, M 90–2, 157, 284n, 412, 415 426 index freedom 94–5, 116, 136, 144, 155, 164, 171–82, 193, 197–9, 201–2, 208, 216–17, 244, 260, 312, 320, 351, 353, 356 Frege, G 270 Furtw¨angler, W 328 Gadamer, H.-G 3, 11, 19, 213–14, 242 gesture 14n, 26, 47, 57, 63, 109, 117, 140, 154, 157, 223, 231, 280–1, 285–7, 299, 324, 360–2, 378, 388, 392 Habermas, J 113, 323 Hacker, P M S 266–7 Hamann, J G 49, 62, 65, 79, 102, 154 Hanslick, E 16, 414 Haydn, J 76 Hegel, G W F 105–137, 140–5, 190, 203, 220–1, 266, 327n, 337, 349–50, 353–5, 371, 412–14 Heidegger, M 33–5, 48, 55, 67–78, 261, 271, 272–4, 287–8, 289–308, 311, 415 Henrich, D 165, 384, 412 Herder, J G 4, 54–78 Hewett, I 26 Hindemith, P 294 Hoffmann, E T A 141, 142–4, 170, 180n, 208 Husserl, E 272–3, 293 idea, regulative 12, 139, 156n, 198, 215–16, 238, 321–2, 325–7, 330–1, 334–5, 373 inferentialism 12–13, 62–4, 105–123, 226, 279, 409–10 intentionality 35–6, 38, 106, 108, 135, 175, 180, 297, 377 interpretation 6, 9–10, 16, 22, 32, 113–15, 117–20, 138, 213, 215, 281n, 283, 299, 320, 322–39, 341, 379–80 irony 226, 364 Jacobi, F H 149, 306 jazz 14, 111, 346, 396–7 Kant, I 22, 45, 49, 63, 71, 79–90, 96–7, 115–16, 171–3, 286, 384 Kierkegaard, S 202–9 Kivy, P 4, 15, 21–9, 355, 365n, 396n Kramer, L 117–118, 137, 379, 389n, 398 Lafont, C 292–3, 300–1 Leibniz, G W 68 Levinas, E 406n, 416–17 Liszt, F 225 Lyotard, J.-F 280n, 407 427 logical empiricism 49, 64 longing 92–3, 98–9, 102, 221, 408 Magee, B 167 Mahler, G 27–8, 124, 183, 189, 348, 355, 362–3, 364–73, 393–4 Mann, T 349 Marx, K 169–70 Mattheson, J 53–4 McDowell, J 8, 38 McClary, S 116n Merleau-Ponty, M 24, 36, 38, 119, 186, 377, 399 meaning 3–7, 9, 41–2, 46, 131, 264–6, 278–9, 282–3, 298, 330, 361, 365, 373, 378–9, 404 metalanguage 61, 62, 80, 81, 134, 226, 289, 299, 301, 407 metaphor 4, 18, 47, 84, 133, 157, 178, 358–9, 414 metaphysics (‘metaphysics1 ’ and ‘metaphysics2 ’) 32–6, 40–1, 46, 68, 72–4, 103, 127, 135, 141–2, 162, 168–9, 171, 176–7, 179, 188–9, 193, 199–202, 227–8, 234, 245, 248, 251, 255, 265–6, 268, 277, 289, 300, 304–5, 322, 366, 369–70, 375, 386, 398 mimesis 117, 327, 333–8, 340, 342, 348, 360, 370 modernity 33–40, 46–8, 51–2, 80, 124–5, 133–4, 136–7, 139–40, 167, 184, 192, 217, 220–1, 229, 241, 259, 302, 304, 315–16, 345, 356, 366–7, 374, 392 mood 68–9, 163–4, 297–8, 306–7 Mozart, W A 203–8 music ‘absolute’ 100, 222 autonomous 1, 37, 66–7, 132, 135–6, 143, 149–50, 170, 199, 374, 403 meaning of 3–8, 17–18, 131–2, 137, 140–1, 149, 235–6, 255, 282, 329, 332, 341, 344, 359, 404 philosophy of xi, 2–3, 10–11, 18, 31, 43, 44, 262, 288, 378–9, 404, 415 myth 168–9, 184, 217, 229–34, 241 nature 36, 39, 47, 51, 53, 81, 82, 90–1, 145, 151, 173–4, 177, 180, 251, 312–13, 320, 366, 372 Neubauer, J 52–3 new musicology 2, 259, 403 Nietzsche, F 35, 57, 74, 139, 167–8, 176n, 181n, 186, 189–93, 228, 355, 397–8 and Wagner 246–60 nihilism 127, 130, 134, 149, 176 notation 316–21, 327–8, 361, 362 428 index Novalis 39, 40, 91–2, 103, 139, 140, 145–50, 266, 269, 388 Nussbaum, M 21, 34, 250 Parker, C 188 philosophy analytical 5, 7, 31, 50, 54, 123–4, 261–2, 300, 330–1, 334, 348, 377–8, 385n, 386, 388, 392, 397, 402n, 415 end of 124–5, 208–9, 386 Pinkard, T 137 Pinker, S 376–7 Pippin, R 135 poetry 75 properties 12, 21–25, 29, 213 Putnam, H 45n, 179, 322, 324, 416–17 Rameau, J.-P 58 Ramsey, F 45 religion 380–2 representation and representationalism 7–8, 42, 45, 51–4, 56, 59–60, 77–8, 85, 90, 100, 107, 120, 146, 161, 248–9, 252, 269, 274, 327, 375, 385, 387, 390, 395, 414–15 rhetoric 52–3, 76–7, 246 rhythm 82, 86, 88–9, 93–6, 112, 120, 142, 147–8, 150–1, 158, 160, 163, 180–1, 188, 252–3, 273, 285, 291, 302, 317–18, 360 Ridley, A 24 Ritter, J W 147–8 Rorty, R 59–62, 80, 163, 366, 379, 381–5, 390–1 Rousseau, J.-J 55–9, 67 Said, E 2, 400–1, 405–8 Schelling, F W J 82, 150–2, 153, 173–83, 195, 198–9, 201–2, 313 schematism 22, 82, 86–90, 150–1, 290–1, 317–18 Schleiermacher, F D E 10, 36–7, 118, 152–65 Schlegel, F 11, 45, 92–104, 266, 318, 404 Schn¨adelbach, H 40, 358 Schoenberg, A 184, 347–52, 355, 356, 364 Schopenhauer, A 42, 121, 168–70, 193–202, 206, 217, 227, 228, 250, 257, 277–8 Schubert, F 16, 26, 76, 178 self-consciousness 112, 142, 146, 148, 150–2, 154–65, 188, 411–17 Sellars, W 57 showing 32, 42, 267–8, 271, 274, 278, 338 silence 70–1 Solomon, M 118, 191n Spinoza, B 174 Stravinsky, I 184, 396 Sussmilch, ¨ J P 62 Sulzer, J G 64 Taruskin, R 14 Taylor, C 54–5, 87, 405–6 Thomas, D 55–7 Tieck, L 76, 140 time and temporality 86, 88–9, 92, 130, 136, 142, 151–2, 177–8, 187–91, 195, 201, 207, 223–4, 245–6, 291, 332, 370, 372, 410 tonality 116n, 125, 191, 285, 352–4, 356, 362 Toulmin, S 347–8 tragedy 34, 127, 177, 185–8, 194, 196, 230 triangulation 9–10, 21 truth 19, 34–5, 86, 98, 126, 127, 135, 138–9, 146, 190, 195, 237–40, 248–9, 258–9, 295, 297, 321–39, 357, 359, 363, 368, 373, 383 Tugendhat, E 138–9 Wackenroder, W H 54, 140 Wagner, R 16, 74, 116, 144, 166–71, 181, 184, 185, 192–3, 205, 210–60, 303 and anti-Semitism 167, 210–14 Weber, M 135, 311–13, 355, 380 Webern, A 348 Weill, K 296 Wellmer, A 237, 288n, 298, 325–6, 331, 334, 396 Williams, B 6, 336 Wittgenstein, L 22, 38, 41–44, 60–1, 113n, 114–115, 119, 153–4, 159, 261–89, 308, 340, 354, 375, 379–80, 386, 402, 414 and ‘logical form’ 42, 68, 107, 146, 264, 271, 275, 283, 338, 360 the ‘new Wittgenstein’ 264–70, 278 Wright, C 391 ˇ zek, S 179n, 242 Ziˇ