“Wittgenstein was insisting that a proposition and that which it describes must have the same ‘logical form’, the same ‘logical multiplicity’. Sraffa made a gesture, familiar to Neapolitans as meaning something like disgust or contempt, of brushing the underneath of his chin with an outward sweep of the finger-tips of one hand. And he asked: ‘What is the logical form of that?'”
(Norman Malcolm, Ludwig Wittgenstein: A Memoir, pp. 58–59)
Faintly recall from student days long ago that N.Malcolm was hard work and unrewarding as a philosopher (trans.: I was a confused and unsatisfactory philosophy student, esp.as far as Anglo-Am Analytical etc goes). But this is a good story, and — whether or not LW drew the correct conclusions at length — Sraffa’s intervention was strong, and Wittgenstein was right to be impressed and unsettled. I’m tempted to argue that music — all music, from Blobby to Boulez — is making much the same gesture to all other intellectual activity: here’s something you can’t do. That might be too strong — other things are always going on in music (including rapprochement, or attempts at same), and of course the various forces and layers never aggregate to a single decisive intent or content anyway — but it’s definitely an element I value in music, and don’t see well grasped in its discussion.