{"title":"音乐哲学:维特根斯坦和卡杜","authors":"M. P. Pujadas","doi":"10.17990/RPF/2018_74_4_1425","DOIUrl":null,"url":null,"abstract":"The article focuses on the experimental music that emerged after the Second World War and in graphic musical notation. He has a special interest in the influence exercised by the reading of the Tractatus Logico Philosophicus in the musical work Treatise by Cornelius Cardew. The isomorphism between language and reality and the different types of propositions formulated by the first Wittgenstein represent a new conception of music in the composer.","PeriodicalId":43479,"journal":{"name":"Philosophy of Music Education Review","volume":"12 3","pages":""},"PeriodicalIF":0.7000,"publicationDate":"2018-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"Philosophy of Music: Wittgenstein and Cardew\",\"authors\":\"M. P. Pujadas\",\"doi\":\"10.17990/RPF/2018_74_4_1425\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The article focuses on the experimental music that emerged after the Second World War and in graphic musical notation. He has a special interest in the influence exercised by the reading of the Tractatus Logico Philosophicus in the musical work Treatise by Cornelius Cardew. The isomorphism between language and reality and the different types of propositions formulated by the first Wittgenstein represent a new conception of music in the composer.\",\"PeriodicalId\":43479,\"journal\":{\"name\":\"Philosophy of Music Education Review\",\"volume\":\"12 3\",\"pages\":\"\"},\"PeriodicalIF\":0.7000,\"publicationDate\":\"2018-12-30\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Philosophy of Music Education Review\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.17990/RPF/2018_74_4_1425\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"MUSIC\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Philosophy of Music Education Review","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.17990/RPF/2018_74_4_1425","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
The article focuses on the experimental music that emerged after the Second World War and in graphic musical notation. He has a special interest in the influence exercised by the reading of the Tractatus Logico Philosophicus in the musical work Treatise by Cornelius Cardew. The isomorphism between language and reality and the different types of propositions formulated by the first Wittgenstein represent a new conception of music in the composer.
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