Abstract
When Gadamer proclaims that “music must resound” (Gadamer, Truth and method. Bloomsbury, London, 2013, 120), he returns to a not uncommon theme in his work, the concept of Vollzug, which translates a connotative field in English encompassing senses of fulfillment, execution, enacting and performance. For Gadamer, a work of art is continually open to reinterpretation through its ongoing performances and receptions (Gadamer, Epoché J Hist Philos 26(1):251–258, 2021, 252). No doubt this is an apt and exciting concept for scholars of performance. But this resounding, understood primordially as re-sounding, opens the way to a more fundamental intuition in the ontology of music. The idea that music resounds, taken literally, as a resonance which re-sounds, as a performing which reperforms; or, as Nancy observes, “listening is musical when it is music that listens to itself” (2007, 67), opens the way to the fundamental hermeneutic temporal structure of music. In listening as music, in musical listening, the listener is performed by musical ways of being just as the music performs them. Music as re-sounding is not in its origin a musician playing or composing a selection of notes, timbres, tempos, and structures, nor a participation in ritual and social performances; neither a means of auto-assignation of identity and belonging, nor a site of aesthetic judgment. Certainly, music, in its everyday sense, can perform all these functions, but more fundamentally, before all its taken-for-granted purposes and functions, music is listening, is a way of listening, of giving-over-to, being opened-up and taken-by. Musical listening instantiates a way of being which escapes representational metaphysics and language. The hackneyed claim that music escapes language is wrong. The language which can say music is a yet to be found potential of human speaking. Speaking from music may be closer to a performative utterance, a spell, a poem. It requires a new hermeneutic which escapes message and receptor, sign and referent, subject and object. A languaging from, of, and for musical being.
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Notes
- 1.
Note for my ethnomusicologist friends. I am aware that I am working from within the Western philosophical tradition. That the essentialising ontological question I am asking may well be completely irrelevant outside of that tradition, that to bring it to another tradition would essentially constitute a colonialising epistemic violence. That somebody performing an action that I would call playing music from within a different cultural tradition might believe they are doing something entirely different to what I am doing when I am playing a song on the guitar or listening to a car in the distance. I agree. I simply note that my question arises within a given tradition, requires answering from within that tradition, in the terms of that tradition, which necessarily entails addressing the fundamental colonising destructiveness of the way of knowing of that tradition, and may well have no relevance outside that tradition. But I stress that within that tradition all the phenomena I have listed above are recognised as legitimately gathered together under the saying of the term “music”, and that this raises certain questions. More importantly, my intention in asking the question of what music is, is philosophical more than musicological. I have no interest in musicology and even less in culture. This is a philosophical questioning. It is a means to approach the question of the limits, origins, and constitution of Western representational metaphysics.
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Grant, S. (2024). Re-sounding: Towards an Ontological Hermeneutics of Being-Musically. In: McAuliffe, S. (eds) Gadamer, Music, and Philosophical Hermeneutics. Contributions to Hermeneutics, vol 12. Springer, Cham. https://doi.org/10.1007/978-3-031-41570-8_13
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