Paul Boghossian

I start with the observation that we often respond to a musical performance with emotion -- even if it is just the performance of a piece of absolute music, unaccompanied by text, title or programme. We can be exhilarated after a Rossini overture brought off with subtlety and panache; somber and melancholy after Furtlanger’s performance of the slow movement of the Eroica. And so forth. These emotions feel like the real thing to me – or anyway very close to the real thing. When one experiences them, it takes time for them to wear off, and one gets irritated with the companion who, because not similarly moved, wants immediately to start discussing where to go for dinner. Like many others, I am drawn to the philosophy of music by a need to understand how such emotional responses are possible. How can absolute music move us in the way that it does, and to the extent that it does?

I. Recent years have witnessed a great resurgence of interest in the writings of the later Wittgenstein, especially with those passages roughly, Philosophical Investigations p)I 38 — 242 and Remarks on the Foundations of mathematics, section VI that are concerned with the topic of rules. Much of the credit for all this excitement, unparalleled since the heyday of Wittgenstein scholarship in the early IIJ6os, must go to Saul Kripke's I4rittgenstein on Rules and Private Language. It is easy to explain why. To begin with, the dialectic Kripke uncovered from Wittgenstein's..