Books by Stefano Oliva
«È impossibile per me dire nel mio libro una parola su tutto ciò che la musica ha significato nel... more «È impossibile per me dire nel mio libro una parola su tutto ciò che la musica ha significato nella mia vita. Come posso sperare allora di essere compreso?». Con queste parole Ludwig Wittgenstein spiegava all’amico Maurice O’Connor Drury l’importanza della musica per lo sviluppo del suo lavoro filosofico. Questo libro segue l’indicazione data dal filosofo, individuando nella riflessione sulla musica una chiave d’accesso all’intero percorso che va dal Tractatus logico-philosophicus alle annotazioni contenute in Della Certezza. Senza voler tracciare un’estetica musicale wittgensteiniana (ma non rinunciando a un confronto con le principali voci della filosofia della musica), il presente lavoro rilegge l’opera di Wittgenstein trovando nell’arte dei suoni la pietra di paragone a partire dalla quale tentare di spiegare alcuni tratti caratteristici della logica, della comprensione verbale e dell’accordo tra i parlanti.
Book Chapters by Stefano Oliva
Papers by Stefano Oliva
Lebenswelt: Aesthetics and Philosophy of Experience, Dec 8, 2011
DOAJ (DOAJ: Directory of Open Access Journals), 2019
Studi di estetica, Jun 1, 2019
Departing from the problem of a possible aesthetical education, this paper will focus on the topi... more Departing from the problem of a possible aesthetical education, this paper will focus on the topic of musical hearing, as conceived by the Italian composer Luciano Berio. In order to specify the philosophical implications of his reflection on the possibility of a musical education, it will be take into account two Witt-genstein’s main topics: the concept of hearing as and the argument against the possibility of a private language.
Rivista Italiana di Filosofia del Linguaggio, Mar 31, 2012
Analytic Aesthetics and German Musicology of XX century have reflected on relationship between mu... more Analytic Aesthetics and German Musicology of XX century have reflected on relationship between music and language in a semantic and syntactic perspective: they have tried to answer questions like relationship between musical form and human emotions, analysis of harmonic structures and musical meaning, denotation and reference in music. However semantic and syntactic approach has overlooked the pragmatic aspect of musical language: Wittgenstein's analysis of language-games suggests a change of perspective from the problem of musical meaning to the matter of use in a pragmatic approach while Lacanian lecture of Fort/Da-Freudian game seen as first linguistic engagement of eighteen months child-help us to find in rhythmic gesture a contact between body, language and music. The French term jouissance becomes for a fruitful pun j'ouïs-sens, the way "I hear a sense", and it open to a new understanding of musical meaning: not denotation or reference but appraisal of a gesture, as language too.
Lebenswelt: Aesthetics and Philosophy of Experience, Dec 16, 2013
Rivista Italiana di Filosofia del Linguaggio, Dec 3, 2017
The aim of this paper is to reflect on the metaphor of ‘musical language’ in order to find a sati... more 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.
Reti, saperi, linguaggi, 2020
B@belonline, 2019
According Luciano Berio, in musical listening it is possible to find two elements: the intermedia... more According Luciano Berio, in musical listening it is possible to find two elements: the intermediation between sound and image and the manifestation of an otherwise inaccessible and sacred space. But how to justify such intermediation and how to articulate such a manifestation? The notion that can help to elaborate an attempt to answer these questions is that of form, to which Berio dedicated some theoretical essays in the late 1950s and early 1960s, then returning to the subject in the course of subsequent reworkings. Starting from a reconstruction of the meaning of this term in Berio's writings, I will go back to the sources that inspired the composer's reflection (in particular Paul Klee's theoretical writings) and highlight the relationship between sound and image in the experience of a mysterious space opened by music.
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Books by Stefano Oliva
Book Chapters by Stefano Oliva
Papers by Stefano Oliva