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On Music and Language

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of the 20 century has tended towards a move "away" from language, or what changes if any the relationship between th music and language underwent in the 20 century. I shall therefore avoid directly addressing the question raised by Schnebel; I would prefer initially to clarify the polyvalence of the lingual topos in its application to musicFerneyhough speaks of a "minefield of music/language analogies" in order to subsequently reformulate the question as to how close to and/or how remote from language music actually is. II. One can examine the internal relationship between music and language from at least five different perspectives. I shall discuss four of these, relating to possible dimensions of speech-likeness in music, in this first part of my investigations. The fifth aspect of the relationship between music and language, which pertains to the constitutive speech-relation of music and its implications, shall be addressed following this. 1. One relationship between music and language was absolutised in the Romantic topos of music as the language of emotions (or affects), which played a central part in the music-theoretical discussions from Rousseau to Wagner, particularly also in early German Romanticism. This topos can most easily become comprehensible by in Rousseau's and Wagner's sense understanding music as something "split off" from an originary language in which the sonic, expressive and gestural aspects of language had not yet been separated from the conceptual aspects. (The human voice, with its phonetic and expressive possibilities, bound to a body that gesturally accompanies its speech/song.) Here, then, music is presented as an art whose roots lie in the phonetic-expressive, dynamic and gestural aspects of lingual communication. Music and communicative (i.e. discursive, conceptual) language are both attributed, one could also say, to a common lingual origin; and, just as emotions can be expressed and conveyed without words in the "musical" dimension of speech, music according to this topos takes on and refines this "a-conceptual" dimension

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