Faire nôtres les gestes de l’œuvre. Au delà du parallélisme analytique de la musique avec le langage

Antonio Soulez

doi:10.4396/202019

Antonio Soulez

DOI: https://doi.org/10.4396/202019

Parole chiave: Adorno, Wittgenstein, We, Music, Expressiveness

Abstract

By questioning the social character of ‘We’ from the outset, our goal is to explain the various ways in which it manifests itself through the language games for Wittgenstein, to whom Vincent Descombes (1996) owes what he calls «the objective spirit». How this ‘objectivity’ combines with the expressiveness of the work of art is now the point I want to elucidate. What becomes in this articulation the subjectivity of the subject of listening? I propose here to answer this question by confronting some aspects of two heterogeneous traditions on the relationship between ‘We’ and sound in Adorno and Wittgenstein, which encourage us to reflect on the articulation between music and society. On the one hand, Wittgenstein (1967: §173) says that a whole world stands in one little (musical) sentence, on the other hand Adorno (1959) states that «Every sound says ‘we’». In my view, these statements, which do not take ‘We’ in the same sense, converge at the crucial point where the integration of the forms of the musical work by a listening subject into the sound material takes place, so that the problem is less to identify who is ‘We’ (Adorno’s line), than to go deeper into the process of making both objective and expressive (in a sense to be re-defined) the forms of the musical work so that they become ‘ours’. So what status should be attributed to the pronoun ‘We’, given the aesthetic priority of the act of ‘making ours’?

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