Wittgenstein’s experiments on rhythm, conducted in Charles Myers’s laboratory in Cambridge during the years 1912–13, are his earliest recorded engagement in thinking about music, not just appreciating it, and philosophizing by means of musical thinking. In this essay, I set these experiments within their appropriate intellectual, scientific, and philosophical context in order to show that, its minor scientific importance notwithstanding, this onetime excursion into empirical research provided an early onset for Wittgenstein’s career-long exploration of the philosophically pervasive implications of aspects. Dramatically moving beyond the conceptual limitations, which were inscribed by Charles Myers’s scientific program, Wittgenstein got a glimpse of a philosophical angle, which was bound to become very important to him not only in aesthetics, but also for his overarching philosophical development. He became interested in what we actually do when we re-phrase, compare, come up with good similes in order to illuminate something definite within the space of possibility, so a new aspect may come to life.

中文翻译：

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维特根斯坦的节奏实验的哲学意义（剑桥1912-13）。

维特根斯坦（Wittgenstein）在1912-13年间在剑桥查尔斯·迈尔斯（Charles Myers）的实验室中进行的节奏实验，是他最早记录下来的对音乐的思考，而不仅仅是欣赏音乐，并通过音乐思维进行哲学研究。在本文中，我将这些实验设置在适当的理智，科学和哲学背景下，以表明尽管具有次要的科学重要性，但这次对实证研究的一次考察为维特根斯坦在职业生涯中对哲学无处不在的探索进行了早期探索。方面的含义。维特根斯坦戏剧性地超越了查尔斯·迈尔斯（Charles Myers）的科学程序所刻画的概念性局限性，瞥见了一个哲学角度，这不仅对他而言在美学上也将变得非常重要，同时也要归功于他的哲学发展。当我们重新措辞，比较，提出良好的比喻以阐明可能性范围内的确定事物时，他对我们的实际工作产生了兴趣，因此，一个新的方面可能会出现。