Quale paradigma per il ‘linguaggio della musica’? Verso una filosofia del gesto musicale / Which paradigm for the 'language of music'? Towards a philosophy of musical gesture

  • Stefano Oliva
Keywords: musical language, gesture, voice, Agamben, Berio

Abstract

The aim of this paper is to reflect on the metaphor of ‘musical language’ in order to find a satisfying paradigm for musical expressiveness. First, I will review the idea of music as ‘language of emotions’. Then, I will present some authors from continental tradition, with particular attention to Giorgio Agamben’s reflection on the link between music and Stimmungen, seen as prelinguistic moods which determine the orientation of the human being. I will refuse Agamben’s approache and I will present Wittgenstein’s comparison between musical and linguistic understanding, in which the concept of gesture is central. In conclusion, using Luciano Berio’s and Guerino Mazzola’s reflections on musical gesture, I will propose a gestural paradigm for understanding musical expressiveness. I will indicate in the complexity of musical gesture a synthesis between bodily immediacy and cultural tradition that will help to refuse both the linguistic paradigm, based on the concept of ‘musical meaning’, and the pre-linguistic model of musical expressiveness, which take back to the platonic theory of ethos.

References

ADORNO, Theodor W. (1970), Ästhetische Theorie, Suhrkamp Verlag, Frankfurt am Main (Teoria estetica, Einaudi, Torino 2009).

AGAMBEN, Giorgio (1978), Infanzia e storia. Distruzione dell’esperienza e origine della storia, Einaudi, Torino.

AGAMBEN, Giorgio (1996), Mezzi senza fine. Note sulla politica, Bollati Boringhie-ri, Torino.

AGAMBEN, Giorgio (2005), La potenza del pensiero. Saggi e conferenze, Neri Poz-za, Vicenza.

AGAMBEN, Giorgio (2016), La musica suprema. Musica e politica, in AGAMBEN, Giorgio, Che cos’è la filosofia?, Quodlibet, Macerata, pp. 135-146.

AGAMBEN, Giorgio (2017), Karman. Breve trattato sull’azione, la colpa e il gesto, Bollati Boringhieri, Torino.

ARBO, Alessandro (2013), Entendre comme : Wittgenstein et l'esthétique musicale, Hermann, Paris.

BERIO, Luciano (2000), Del gesto musicale e di piazza Carità (vers. 2000), in BE-RIO, Luciano, Scritti, Einaudi, Torino, 2013, pp. 472-424.

BERIO, Luciano (1967), Del gesto vocale, in BERIO, Luciano, Scritti, Einaudi, Tori-no, 2013, pp. 58-70.

BERTINETTO, Alessandro (2016), Eseguire l’inatteso. Ontologia della musica e im-provvisazione, Il glifo ebook, Roma.

DAHLHAUS, Carl (1986), Musikästhetik, Laaber Verlag (L’estetica musicale, Astro-labio, Roma 2009).

DELEUZE, Gilles, GUATTARI, Félix (1980), Mille plateaux. Capitalisme et schizo-phrénie, Minuit, Paris (Mille piani. Capitalismo e schizofrenia, Castelvecchi, Roma 2010).

GRITTEN, Anthony, KING, Elaine (2006), eds., Music and Gesture, Ashgate, Al-dershot and Burlington.

GRITTEN, Anthony, KING, Elaine (2011), eds., New Perspectives on Music and Gestures, Ashgate, Farnham and Burlington.

HANSLICK, Eduard (1854), Vom Musikalisch-Schönen, Leipzig (Il Bello musicale, Aesthetica, Palermo 2001).

HATTEN, Robert S. (2004), Interpreting Musical Gestures, Topics, and Tropes, Indi-ana University Press, Bloomington and Indianapolis.

HEIDEGGER, M. (1927), Sein und Zeit, «Jahrbuch für Philosophie und phänomeno-logische Forschung», 8, pp. 1-438 (Essere e tempo, trad. it. a cura di F. Volpi sulla versione di P. Chiodi, Longanesi, Milano 2005).

JANKÉLÉVITCH, Vladimir (1961), La musique et l’ineffable, Armand Colin, Paris (La musica e l’ineffabile, Tempi Moderni, Napoli 1985).

LANGER, Susanne K. (1942), Philosophy in a New Key. A Study in the Symbolism of Reason, Rite and Art, Harvard University Press, London (Filosofia in una nuova chiave: linguaggio, mito, rito e arte, Armando, Roma 1965).

LENTINI, Domenica (2014), Introduzione a LENTINI, Domenica, a cura di, La mu-sica e le emozioni. Percorsi nell’estetica analitica, Mimesis, Milano-Udine, pp. 9-33.

MAZZOLA, Guerino, CHERLIN, Paul B. (2009), Flow, Gesture, and Spaces in Free Jazz. Towards a Theory of Collaboration, Springer, Berlin-Heidelberg.

NIRO, Piero (2008) Ludwig Wittgenstein e la musica, Edizioni Scientifiche Italiane, Napoli.

OLIVA, Stefano (2016), La chiave musicale di Wittgenstein. Tautologia, gesto, atmo-sfera, Mimesis, Milano-Udine.

RESTAGNO, Enzo (1995) Ritratto dell’artista da giovane, in RESTAGNO Enzo, a cura di, Berio, EDT, Torino, pp. 5-30.

SANGUINETI, Edoardo (1982), La messa in scena della parola, in RESTAGNO Enzo, a cura di, Berio, EDT, Torino, 1995, pp. 74-78.

SONTAG, Susan (1969), Aesthetic of Silence, in SONTAG, Susan, Styles of radical will, Farrar, Straus and Giroux, New York, pp. 3-35.

SOULEZ, Antonia (2012), Au fil du motif : autour de Wittgenstein et la musique, De-latour, Paris.

VIZZARDELLI, Silvia (2008), Musica, in D’ANGELO, Paolo, a cura di, Le arti nell’estetica analitica, Quodlibet, Macerata, pp. 77-103.

WITTGENSTEIN, Ludwig (1958), The Blue and Brown Books, Basil Blackwell, Oxford (Libro blu e Libro marrone, Einaudi, Torino 1983).

WITTGENSTEIN, Ludwig (1977), Vermischte Bemerkungen, Suhrkamp, Frankfurt am Main (Pensieri diversi, Adelphi, Milano 1980).

WITTGENSTEIN, Ludwig (1982), Zettel, Blackwell, Oxford (Zettel, Einaudi, Torino 1986).

Published
2017-12-03
How to Cite
Oliva, S. (2017) “Quale paradigma per il ‘linguaggio della musica’? Verso una filosofia del gesto musicale / Which paradigm for the ’language of music’? Towards a philosophy of musical gesture”, Rivista Italiana di Filosofia del Linguaggio, 11(2). Available at: http://rifl.unical.it/index.php/rifl/article/view/432 (Accessed: 26September2020).