I.

Introduction:

II.
Musicaestheticandthepossibilityofmeaning

1.TheformalistSchool:EduardHanslickandabsolutemusic

2.Programmusicschool:LisztandWagner

III
.Extractingmusicalmeaning

1.Musicasadiscourse

2.Deryck Cooke and 'TheLanguageofMusic

iiiMusic,meaning,anditerarymodernism
1. Musicasaliterarydevice

2. Musicalelementsintheliterarytext:
Prosody

1.Literary discourse VS musical discourse

2. Musical elements in the literary text

a. Form : Melody / Harmony / structure / polyphony /monophonyRhythm

/Counterpoint/ .

b.content

Music as a symbol / as a way to reach redemption/ secular music vs

religious music / as a way to reach the absolute / as a tool to explore the

unconscious
 ChapterOne

Introduction:

TherelationbetweenwordsandMusicisactuallyafieldofstudyinthe

domainofphilosophyofmusic.Indeed,whileclassicalmusicaestheticwasmainly

dealingwiththeform,harmonyandstructure,musicphilosophyexpandsitsareaof

interesttofurtherareasofinvestigation,whichconnectsmusicwithphilosophical

questionsinmetaphysicsandaesthetics.AndrewKaniadefinesPhilosophyofmusicas

thestudyof"...fundamentalquestionsaboutthenatureofmusicandourexperienceof

it1".Thosekindofphilosophicalquestioningaboutmusicledtothechangingnatureof

musicanditsrole,asmanytheoristsstartedtoreactagainsttheclassicaldepictionof

musicaspuredecorativearts.Whileformalistsmaintaintheideathatmusicisjust

organisedsoundandstructures,differentphilosophers,musicologists,andauthors

depictmusicasacommunicativeartthatconveysideasandmeaning.

Thischapterinvestigatestherelationbetweenmusicandmeaningunderthe

hopetodeterminetheadequatemethodologicalstepstoadoptforamusicoliterary

1Andrew Kania, "The Philosophy of Music", The Stanford Encyclopedia of Philosophy, Spring
2014 edition, edited by Edward N. Zalta.

2
analysis.Thischaptertriesfirsttoshowthatmusic,farfrombeingameredecorative

art,canbeconsideredasamediumofcommunication.Italsoshowsmethodsof

analysisthatpermittoextractmeaningfromamusicalcomposition.Ourobjectiveis

toshowthediscursivequalitiesofmusicandthepossibilityofusingsuchdiscoursein

thecreationofpoetry.

I.Musicaestheticandthepossibilityofmeaning

Whilethefusionbetweenmusicandpoetryknewaconsiderabledevelopment

inmodernistsepoch,therelationbetweenmusic,emotions,ideasandmeaningis

originallyadebateamongthemusicologists.Whileclassicaltrendofaesthetic

considersmusicasadecorativeart,differentattemptsweremadetobreakwiththis

traditionalconceptionofmusic.

1.The formalist School: EduardHanslickandabsolute

music

Musicmeansitself.EduardHanslick,TheBeautifulinMusic(1854)

EduardHanslick(18251904)wasoneofthemostinfluentialphilosopherof

music,andmusiccriticofthe19thcentury2.Fromhistheoryofmusic,onecanclearly

2https://books.google.dz/books?
id=DfOsAgAAQBAJ&pg=PA369&lpg=PA369&dq=companion+to+Ed
uard+Hanslick&source=bl&ots=yqyTO7C0fr&sig=blptnDA6ZCXpye
HK3sFUnTo0P2w&hl=en&sa=X&ved=0ahUKEwj17YvToJLSAhWDchQ
KHWS0DN0Q6AEIJTAD#v=onepage&q=companion%20to%20Eduard
%20Hanslick&f=false 359

3
seeinHanslicksargumentsapureformalisticapproachtomusic.Indeed,Hanslickis

knownforhiscriticismtowardprogrammusic,ashismainargumentmaintainsthat

musicisunabletoexpressfeelingsorideasbyitself.Accordingtohim:Music

meansitself.HistheoryofmusicisfullyexplainedinhisfamousbookTheBeautiful

InMusicDATEwhereheexposedindetailshisvisionaboutmusic.

Inhisbook,Hanslickcriticizestheviews,whichassociatetheaestheticsof

musictofeelingsandemotion.Accordingtohim,thefactthatmusiccanarouseour

feelingsisnotasufficientreasontoconsiderthattheaestheticsignificanceofmusic

residesinthisconnection.Whileheacknowledgesthatwecandescribethe

experienceofmusicandmusicalqualitiesinemotionalterms,heactuallyarguesthat:

"theimmediateexperienceofmusicitselfisnotanemotion,andthethoughtsmost

immediatelyinvolvedinmakingorcomposingmusicarenotemotions3Thus,

Hanslickconsidersmusicasanindependentaestheticobjectthatholdsaesthetic

qualities.Inthisconcern,thebeautifulinmusicisindependentfromourexperience

ofit:

Ifthecontemplationofsomethingbeautifularousespleasurablefeelings,thiseffectisdistinct
fromthebeautifulassuch.Imay,indeed,placeabeautifulobjectbeforeanobserverwiththe
avowedpurposeofgivinghimpleasure,butthispurposeinnowayaffectsthebeautyofthe
object.Thebeautifulisandremainsbeautifulthoughitarousenoemotionwhatever,and
thoughtherebenoonetolookatit.Inotherwords,althoughthebeautifulexistsforthe
gratificationofanobserver,itisindependentofhim.4

346 NickZangwill,"AgainstEmotion:Hanslickwasrightaboutmusic,"British
JournalofAesthetics,Vol.44,No.1,January2004,42.

4EduardHanslick,TheBeautifulinMusic,Trans.GustavCohen(London:Novello
andCompany,1891)P.18

4
 Sinceemotionisnotpresentinthemusicalobject,butisdependentonthe

listenersinterpretation,itcannotbethebasisforaestheticsofmusic.Hanslickwrites,

Theessenceofmusicissoundandmotion5andsuggeststhattheproperbasisforan

aestheticsofmusicaresonicallymovingforms6.Furthermore,hesuggeststhat

theseformsextend,orgrow,fromafreelyconceivedmusicaltheme.Hewrites,

Theinitialforceofacompositionistheinventionofsomedefinitetheme,andnotthe
desiretodescribeagivenemotionbymusicalmeans.Thankstothatprimitiveand
mysteriouspower,whosemodeofactionwillforeverbehiddenfromus,atheme,a
melodyflashesonthecomposersmind.Theoriginofthisfirstgermcannotbe
explained,butmustsimplybeacceptedasafact.Whenonceithastakenrootinthe
composersimagination,itforthwithbeginstogrowanddevelop;theprincipaltheme
beingthecenterroundwhichthebranchesgroupthemselvesinallconceivableways,
thoughalwaysunmistakablyrelatedtoit.Thebeautyofanindependentandsimple
themeappealstoouraestheticfeelingwiththatdirectness,whichtoleratesno
explanation,except,perhaps,thatofitsinherentfitnessandtheharmonyofparts,to
theexclusionofanyalienfactor.Itpleasesforitsownsake,likeanarabesque,a
column,orsomespontaneousproductofnaturealeaforaflower.7

Hanslickconcludesthattheideainmusiccanonlybepurelymusical,andthe

valueofapieceofmusicisdeterminedbytherelationbetweentheideaandthewhole

ofthework.Hewrites,

Wecannotacquaintanybodywiththesubjectofatheme,exceptbyplayingit.The
subjectofacompositioncan,therefore,notbeunderstoodasanobjectderivedfrom
anexternalsource,butassomethingintrinsicallymusical;inotherwords,asthe
concretegroupofsoundsinapieceofmusic.Now,asacompositionmustcomply
withtheformallawsofbeauty,itcannotrunonarbitrarilyandatrandom,butmust
developgraduallywithintelligibleandorganicdefiniteness,asbudsdevelopintorich
blossoms8

Hanslicksargumentsaboutmusicmadehimadefenderofabsolutemusicand

acritiqueofprogrammaticmusicofthattime,mainlyrepresentedbyLisztand

5p.67
6ibid
7ibid p.73
8p.169

5
Wagner.HiscriticismofLisztandWagnershowhisskepticismtowardtheideaof

conveyingmeaningthroughoutmusic.

InhisreviewofLiszt'sSymphonicPoems,Hanslickstatesthatitisunfairto

denythecomposerthepoeticalstimulationofferedbyexternalfactors,musicitself

cannotexpressadefiniteobject.Musiccannotreflecttheessentialcharacteristicsof

anobject.Onlythetitleorthewordsassociatedwiththatpiececangiveaclueabout

thesecharacteristics.Moreover"musichastobebasedonitsownlawsandremain

specificallymusical,thusmaking,evenwithoutprogram,aclear,independent

WhenhewroteabouttheSymphonicPoems,Hanslicktriedtoprovethatthemain

mistakeLisztmadeisthathereliestoomuchonexternalideas:

Hehaschosentoapproachmusicfromananglewhere,inspiredbyexternalidea,it
occupiesthecomparativeintellectandstimulatespoeticorpicturesquefantasy;he
imposesanabusivemissiononthesubjectsofhissymphonies:eithertofillthegapleft
bytheabsenceofmusicalcontentortojustifytheatrociousnessofsuchcontent.55

Also,asstatedbefore,Wagner'smusicrepresentedacontinuousmotivation

forHanslicktoarguehisposition.Hecanseecertainqualitiesinthismusic,butthe

essentialcharacteristicsthatmusicshouldalwayscomprisearemissing.Forexample,

Wagner'sDieMeistersingerisaremarkable,consistent,earnest,richcreation,butit

is"anawkward,contrived,continuouslyrestlessmusic,withanoisyandcomplex

instrumentation,"which"becomesmonotonousthroughthecontinualuseofdissonant

chordswhentheearexpectsaconcludingtriad.,,56Thisreviewisrelevanttothe

effectthatHanslickcouldnoteasilyaccepttheuseofdifferentandnewmusical

materialand,moreover,usingsuchdifferentteclmiqueofcompositionforadifferent

purposethanthepurebeautyofmusic,meaningexpressingideas.

6
 2.Programmusicschool:LisztandWagner

UnlikeHanslick,hiscontemporarycomposerLisztwasanadvocatorof

programmusic.Unlikeabsolutemusic,whichitsmainpurposeisaestheticbeauty,

programmusicaddsthematiccontenttotheequation.Liszt'sphilosophical

knowledgeaswellashisinteresttoliteraturemadehimtoconsidermusicmorethan

anaestheticexperience:

Forthepastfortnightmymindandfingershavebeenworkingawayliketwolostspirits.The
Bible,Homer,Plato,Locke,Byron,Hugo,Lamartine,Chateaubriand,Beethoven,Bach,
Hummel,Mozart,Weberareallaroundme.Istudythem,meditateonthem,devourthemwith
fury.9

Inthismanner,Lisztacquiredabroadperspectiveoncultureandartsin

general,afactthatwastobereflectedinhisviewsonmusicanditsrole.He

understoodmusicfromtheperspectiveofculture,namelyasanartisticexpression

withadefinitesocialrole,andnotaspureentertainmentoraestheticpleasure.

Influencedbytheidealismoftheage,Lisztconsideredthatonlyartcould

offerthenecessaryequilibriumbetweenrealityandideality.Hewrote:Theinnerand

thepoeticsenseofthings,thatidealitywhichexistsineverything,seemstomanifest

itselfpreeminentlyinthoseartisticcreationsthatarousefeelingsandideas10

ForLiszt,musicshouldceasetobejustaformofentertainmentorasourceof

intellectualpleasure.Musichasamuchmoreimportantroletoaccomplish:

9BenArnold,"LisztasReader,Intellectual,andMusician,"AnalectaLisztianaI:
LisztandHisWorldMichaelSaffle,ed.(Stuyvesant,NewYork:PendragonPress,
1998),p.37.

10PietTeAntoineHun~&ClaudeKnepper,Lisztensontemps(Paris:Hachette,1987),
p.296

7
 Onlyinmusicdoesfeeling,actuallyandradiantlypresent,liftthebanwhichoppressesourspiritwiththe
sufferingsofanevilearthlypowerandliberateus[...].Onlyinmusicdoesfeeling,inmanifestingitself,
dispense with the help of reason and its means of expression, so inadequate in comparison with its
intuition,soincompleteincomparisonwithitsstrength,itsdelicacy,itsbrilliance.11

Theprocessofevolutionthatmusicgoesthroughhasitsspecific

characteristics.Lisztstronglybelievedthatprogrammusicrepresentsanatural

chapterintheevolutionofclassicalmusic:"thepoeticsolutionofinstrumentalmusic

containedintheprogramseemstousratheroneofthevariousstepsforwardwhich

thearthasstilltotake,anecessaryresultofthedevelopmentofourtime,thana

symptomofitsexhaustionanddecadence12

Thefactthatmusictakesnewformsofexpressionbyassociationwiththe

wordisnotastepbackwards,asHanslickconsiders.Itdoesnotdenytheinitialvalues

ofmusic:"anelement,throughcontactwithanotheracquiresnewpropertiesinlosing

oldones;exercisinganotherinfluenceinanalteredenvironment.13"Theroleofthe

composeristodeveloptheoldmannersofcomposition:"thegeniusenrichestheart

withunusedmaterialsaswellaswithoriginalmanipulationsoftraditionalones14The

liberatingroleofthe"musicofthefuture"canbeachievedonlyifthecomposer

realizeshowexpressivemusiccanbeintermsofideas,imagesandfeelings,andheor

shethenfacilitatesthisexpressionyusingaprogram.

Wagner

11FranzLiszt,"FromBerliozandHis'Harold'Symphony,"SourceReadingsin
MusicHistory,OliverStrunk,ed.(NewYork:Norton,1952),850.
12Ibid.p.859
13ibid.853
14ibid.858

8
 Wagnerwroteanumberofarticlesandreviews,buthisideological

contributiontoprogrammaticmusiccanbefoundmostlyinhisprosework.Suchas

ArtandRevolution,TheArtWorkoftheFuture,OperaandDramaWagner's,andA

CommunicationtoMyFriends.InhiswritingWagnerseekstoshapethedefinite

socialroleofmusic.

InArtandRevolutionWagnerclaimsthatanartistcannotexistinsocietyifhis

onlyfocusisonaestheticcreation.Inthisconcern,Wagnerconsideredthenecessity

ofarevolutionthatwouldrepositionmusicdramawithinthesocialandpolitical

system.15

Wagner'sattemptinTheArtWorka/theFuturewastoindicateawaybywhich

humanitycanleadbetterlivesthroughthemeansofart,whichcanserveasan

instrumenttobuildabettersociety.Inordertoachievethisaim,Artshouldbe

expressive,asitshouldcommunicateideastotheaudience.

sincemusicdramaconsistsofpoetry,dramaandmusic,allartisticformshave
theirroleintheprocess.86Thepurposeofmusicdramaisattainableonlybythe
combinationofmultipleartisticmeansofexpression:

Dramacanonlybefullyrealizedwheneachseparatebranchofartis
utilizedinitsutmostfullness.ThetrueDramaisonlyconceivableas
proceedingfromtheunitedeffortsofeveryartinthemostdirect
appealtoacommonpublic.16

15lanDavidAberbach,TheIdeasofRichardWagner.AnexaminationandAnalysisofhislIIajorAesthetic,Political,Economic,
Social,andReligiOUSThought(Maryland:UniversityPressofAmerica,1988),16.

16RogerHollimake,"Nietzsche,WagnerandErnestNewman,"Music&Letters,Vol.41,No.3,Jul.,1960,248.

9
InOperaandDramaWagneratteststheroleofmusicinMusicdrama.Accordingly,

Wagnerviewsmusicasanexpressiveelementdespiteitsaestheticqualities.Thus,

accordingtoWagneraesthetic,Musicisnotonlyaboutform,melodyandharmony,

butalsoaboutcontentandexpression:

Inperformancethelistener'sattentionshouldbynomeansbedrawntothe
effectivenessoftheharmonyassuch,buttoitssilentpowerofdeterminingthe
characteristicexpressionofthemelody.17

Intheveinofthisconceptionofmusic,Wagnerexplainsthattheformative
elementswhichconstructsmusicarenottobeusedforpurelyaestheticpurposes,but
asameansofexpressingwhatlanguagefailstoexpress:

Asorganofthefeelings,itexpressespreciselyandexclusivelythatwhichlanguage,
byitsverynature,isunabletoexpressandtherefore,fromthepointofviewofthe
humanintelligence,quitesimplyinexpressible.18

Thus,thefactthattheorchestracanexpresstheinexpressibleprovesthat"this

verballyinexpressibleisnotsomethingessentiallyinexpressible,butsimplysomething

beyondexpressionbytheorganofthehumanintelligence,19"whichisspeech.

Wagnergivestomusicaneffectiveroleinexpressingthecontentofhismusic

drama.Musicfacilitatesexpressionwherelanguageisineffective.WhileMusicdoes

notuseconceptsorideas,"itcansubstantializethoughts,i.e.expresstheiremotional

content20Inthiscontext,Poeticandmusicallanguagesmutuallyreinforceeachother.

Bothmusicandpoetrycanideallyusetheirpowerofexpressionwhenin

collaboration.Actually,acomposerisnotacompleteartistifhehasnopoetic

approachtohiswork:
17RichardWagner,"OperaundDrama"(fragments),MusicinEuropeanThought.18511912,BojanBujic,ed.(Cambridge:
CambridgeUniversityPress,1988),57

18Ibid.,60.

19IBID
20Ibid

10
 Thepoetandthemusicianresembletwotravelerswhosetoutfromthesamepoint
andgoinoppositedirections,observingastraightline.Attheoppositepointonthe
earth'ssurfacetheymeetagain,eachhavingcoveredonehalfoftheplanet....Thepoet
hasbecomeamusicianandthemusicianapoet:botharenowcompleteartistic
humanbeings.21

II.Extractingmusicalmeaning

1.Musicasadiscourse

Whilepreviousmusicologistsandcomposersstruggledtogiveaplacefor

programmaticmusic,theideaofrecognizingabsolutemusicfromprogrammatic

musicisstillproblematic.Havingtodifferentiatebetweenthosetwokindsofmusic

conveystheideathatnotanymusicisabletocommunicatemeaningtotheaudience.

Thus,thedefinitionofmusicasprogrammaticisnotauniversalone.Inthecontextof

ourstudy,andinordertomakeourresearchobjectiveandcoherent,definingmusicas

programmaticmusicisnotsufficient.Thenecessitytofindauniversaldefinitionof

musicismandatoryinourthesis.Thus,ourdefinitionofmusicaestheticshouldbe

universalandshouldgiveusthepossibilitytotalkaboutmusicasanaestheticelement

inaliterarytextwhichmaynotonlyaffectstheform,butalsothemeaningofthetext

understudy.FURTHERMORE,WhilemusicologistsandcomposerssuchasWagner

andlisztconveytheideathatmusicisabletoexpressmeaning,neitherofthem

proposeamethodologyofanalysiswhichmaypermitustoextractthismeaning.

21ibid 58.

11
 Consideringmusicasalanguagecanbeproblematicinthesensethatmusic

lacksomecharacteristicsthatlanguagehold.Itisthosecharacteristicsthatmake

languagedifferentfrommusic.Arbitrarinessofwordsmakeslanguageaprecisetool

forcommunication.Wewillseeinthispartofthisworkthatmusicisunableto

functioninthispreciseway.Rather,musichasanabiliyutoexpressmeaningina

suggestiveway.Anditisthisqualitythatmakesitdifferentfromlanguage.

Consideringmusicasadiscoursemayreconcileboththeformalistsandthe

defendersofprogrammusic.Itmaygiveusauniversaldefinitionofmusicandmay

enableustoapproachthetextsandthemusicalscoresunderstudybothatthelevelof

theformandthecontentviatheuseofcriticaldiscourseanalysis.

Foucaultpresentspossiblythebestdefinitionofdiscourse.Hesays,Systemsof
thoughtscomposedofideas,attitudes,andcoursesofaction,beliefsandpracticesthat
systematicallyconstructthesubjectsandtheworldsofwhichtheyspeak.

Thus,farfromconsideringMusicasalanguagewhichcanbeproblematicinaway
thatmusicisunabletocommunicatepreiseinformation,seeingmusicasadiscourse
willpermitustoseeexactlywhatkindofinformationdoesmusicexpresstothe
audience.

12
ParagraphaboutFoucaulttypesofdiscourses

Discourse can be classified into:

Poetic Discourse/ Expressive Discourse/ Transactional Discourse

ThecriticalanalysisofmusicaldiscourseTheovanLeeuwen

https://www.utu.fi/en/units/hum/units/musicology/research/research

fields/Pages/discourseanalysis.aspx

Withinthebroaderfieldofcriticaldiscoursestudies,criticalmusic

analysishasremainedanexception.Thiscanbeexplainedformanydifferent

reasons.First,musicanalysisasapracticeisseenasdifficult,sinceits

vocabularyandtechnicaltermsmaynotdirectlybeunderstoodfromthepartof

criticaldiscourseanalysts.Furthermore,Termsusedinmusicalanalysissuchas

majorscale,minorscale,triads,dynamic,areselfreferentialtomusic.Thus,

therelationbetweensignifierandsignifiedinclassicalmusicanalysisisstuck

withintheworldofmusic.Wemaysaythat,evenifwethinkofmusical

discourseinthepracticeofmusicalanalysis,thisdiscourseisjustpurely

musical,asitjustconveysinformationabouttheelementsthatconstitutethe

musicalpiece.

Whilethemetamusicalqualityofclassicalmusicalanalysisresistsfor

definingmusicasadiscourse,consideringmusicalartandmusicalperformanceas

adiscourseisstillpossible.

13
 Manydifferentmusicalexamplesshowmusicabilitytotransmitaspecificdiscoursedirected

bythecomposer.BeethovengavethemovementsofhisPastoralSymphonytitlessuchasScenebythe

Brook,HappyGatheringoftheVillagersandThunderstormandfelthehadtodefendtheworkas

moretheexpressionoffeelingthanpainting(Dahlhaus,1985,p.21).Otherexamplesofmusical

compositionshowthepossibilitytousemusicasafigurativelanguage.HoneggersPacific231

describedthesoundofasteamlocomotive.Thewhistlewasplayedbystringsabruptlyslidingup.

Brass,stringsandtimpaniplayedthechuggingoftheengine,firstlowandslow,thengraduallyfaster

andhigher.Butonthesleevenotes(Erato2292452422),Honeggerisquotedasdownplayingthe

representationalaspectsofthepiece:WhatIwaslookingforinPacificwasnotsomuchtoimitate

thesoundsofthelocomotive,buttotranslatevisualimpressionsandphysicalenjoymentwithamusical

construction.

Oneofthemostevidentmusicalforms,whichshowtheabilityofmusic

toconveymeaning,isthesymphonicpoem.Evenifitsnameincludestheword

poem,thesymphonicpoemdoesnotincludeanylyricsortext.Rather,the

composer evokes the content of a poem, short story, novel, painting, and

landscape, via the use of music.

ExamplefromLISZTneedtobeintroduced

Most evident examples of the use of music to express specific ideas are to be
found in musical modernism. https://en.wikipedia.org/wiki/Expressionist_music

TheCarnivaloftheAnimalscomposedbyCamilleSaintSans.

Nowevenifthoseexamplesclearlyshowtheabilityformusictoexpress

meaninganditsabilitytobeseenasadiscourse,neitherofthosecomposersproposes

aclearmethodtoanalysetheirworksforthesakeofextractingthemeaning.Itseems

thatitisbysuggestiveelementssuchustitle,mood,andmusicalsequences

thataudienceisabletoextractthismeaning.EvenifLisztisknownforhisuseof

14
formalstrategiestoachievehisaim,thereisstilltheneedforadefinitemethodto

approachthismaterialforthesakeofextractingmeaning.Itisthetaskofnew

musicologiststointroduceaclearmethodsofanalysis.Whiletheirpredecessors

claimedfortheexistingofamusicalprogram,newmusicologistssuchas..

.Seekstofindawayforunderstandingmusicalmeaninganddiscourse

throughthepracticeofmusicalanalysis.

2.'TheLanguageofMusic

Inhisbook,'TheLanguageofMusic(DATE),'CookearguesthatWestern

tonalmusicisliterallyalanguageoftheemotions.Cookebeginsbysayingthatmusic

canbecloselyrelatedtothreeotherartformsarchitecture,painting,andliterature:

Althoughalltheartsareessentiallyautonomousthereisaclearlybondbetween
them.Wespeakofthearchitectureofasymphony,andcallarchitecture,inturns,
frozenmusicbydirectimitationofsomethingwhichemitsasoundofdefinite
pitch,suchusacuckoo,ashepherdspipe,orahuntingahorn.Heretheparallelwith
paintingisexactThefinalrealisationofanyworkofartisachievedthrough
structure,orform;henceeachartcanbeanalogicallyrelatedtoarchitecturep.16

Ofthesethree,hefeelstheanalogyofmusictoliteraturerevealsthatboth

makeuseofanaurallanguagetoexpressemotion.Heactuallystartsbyshowinghow

thestructureofthesymphonycanbecomparedtothatofdramaasbothrepresenta

successionofcontrastedeventstimefollowingoneanotherbychainofcauseand

effect.P9.CookegivestheexampleofDebussysL'aprsmidid'unfaunetosustain

hisidea:DebussysL'aprsmidid'unfauneisconstructed(ifsotoughawordmay

beused)morelikethepoemtowhichitwasintendedtoformapreludeasa

15
successionofchangingmoodsmeltinginandoutofoneanotheraccordingtothe

logicofemotion;andasongisjustasungpoem.p9

Whiletheanalogybetweenmusicandliteratureworksamazinglyatthelevel

ofstructure,Cookeclaimsthatatthelevelofcontent,therelationbetweenmusicand

languageliesintheirabilitytoexpressemotions.Whileheadmitsthatmusicinnot

capablefortransmittingintellectualinformationbyitself,itisratherandmore

suitabletoexpressfeelingsbetterthanwhatlanguagedoes:

Inanycase,itisundeniablethatcomposershaveconsciouslyorunconsciouslyusedmusicas
alanguage,fromatleast1400(A.D.)onwardalanguageneverformulatedinadictionary,
becausebyitsverynatureitisincapableofsuchtreatment.

Theanalogybetweenmusicandliterature,then,inthatbothmakeuseofa`languageof
soundsforthepurposeofexpression.Buttheanalogyisonlyvalidontheplaneofemotional
expression,sinceabstractintellectualstatementssuchusIthink,thereforeIamareoutside
thescopeofmusic,andthepowertodescrivetheoutsideworldbelongstotheanalogywith
painting

Despite its ability to express emotion, Cooke designates music as extra musical
just like poetry being extra verbal.

Music is, in fact, extra-musical in the sense that poetry is extra-verbal, since
notes, just words, have emotional connotationsp.33

WhatmakesCookeachievementinterestingandpracticalliesinhisprecise

exemplificationofhistheory.Insteadofjustpresentingphilosophicalargumentabout

theexpressivenessofmusic,Cookeengagesintoexemplifyinghowpitchinthe

musicalsystemcanfunctionasamediumforemotionalcommunication.Indeed,he

preciselyexplainsthataraisingminorprogressionexpressesOutgoingfeelingofpain,

whilearaisingmajorprogressionexpressesanOutgoingfeelingofjoy.Thefollowing

tableshowstheseventeenmusicalphrasesthatCookeanalysesinhiswork.Each

musicalphraseisanaloguestoaspecificemotionalcontent:

16
# Scale Degrees Pitches in C Major or Emotional Content

C Minor

1-(2)-3-(4)-5
1 C-(D)-E-(F)-G Outgoing, active assertive emotion of joy
Major
experience of exuberance, triumph, aspir

2 5-1-(2)-3 G-C-(D)-E Equally expressive as #1 of an outgoing

Major joy; partial synonym of #1; aims at M3 (

makes it more expressive of joy

3 1-(2)-3-(4)-5 C-(D)-E flat-(F)-G Outgoing feeling of pain, assertion of sor

Minor complaint, protest against misfortune

4 5-1-(2)-3 G-C-(D)-E flat Pure tragedy; strong feeling of courage; a

Minor tragedy and springs onward anyway.

5 5-(4)-3-(2)-1 G-(F)-E-(D)-C Experiencing joy passively; accepting, w

Major blessings, relief, consolation, reassurance

homecoming; if loud, a sense of confiden

6 5-(4)-3-(2)-1 G-(F)-E flat-(D)-C Incoming painful emotion in a context of

Minor acceptance of grief; discouragement and

passive suffering; despair connected with

passive falling away from the joy of life

7 5-3-(2)-1 G-E flat-(D)-C Passionate outburst of painful emotion, d

Minor protest further, falls back into acceptance

complete protest or complete acceptance

sorrow

17
8 1-(2)-3-(2)-1 C-(D)-E flat-(D)-C A look on the darker side of things in term

Minor immobility, neither rising up to protest, n

back to accept; brooding; obsession with

feelings; trapped fear; sense of inescapab

9 (5)-6-5 (G)-A-G Three possibilities:

Major a). simple assertion of joy

b). if unaccompanied joyous vibration

c). anacrusis to 5th: joyous vibration with

10 (5)-6-5 Minor (G)-A flat-G Burst of anguish (most commonly used o

11 1-2-3-2 Gloomy; sense of brooding grief swellin

Minor C-D-E flat-D and dying again

12 1-(2)-(3)-(4)-5-6-5 C-(D)-(E)-(F)-G-A-G Innocence and purity (of angels and child

Major affirmation of maximum joy (savages, ch

animals, birds, saints, etc.)

13 1-(2)-(3)-(4)-5-6-5 C-(D)-(E flat)-(F)-G- Powerful assertion of fundamental unhap

Minor A flat-G

14 8-7-6-5 C-B-A-G Incoming emotion of joy, welcoming or a

Major comfort, consolation or fulfillmentif lo

sense of confidence

15 8-7-6-5 C-B flat-A flat-G Incoming painful emotion; acceptance, o

Minor death; passive suffering; despair connect

deathbut an opening continuing feeling

18
 16 Chromatic Scale C-B-B flat-A-A flat-G- Weary despair and increased pain (a chro

(down) G flat-F-E-E flat-D- expansion of #15 and #6

D flat-C

17 1-2-3-3-_5 C-D-E-E-_G Passionate love

In the table above, while scale degree represents the interval movement

studied; pitch represents the name of the played notes. Emotional content represents

the conclusion made by Cooke after his analysis and exemplification. You may

remark that Cooke have chosen scales degree methodologically. While he starts his

analysis by ascending notes in the Major scale( 1-2-3-4-5), and the combination of

5-1-2-3 in the same major scale, he moves on to study the same intervals

movements in the minor scale; that is to say ascending note 1-2-3-4-5 and the

combination of 5-1-2-3 in the minor scale.

MajorandMinorarethetwoindependentsystemsofnotesusedinmusic.

Bothofthemhaveascendinganddescendingpossibilities.Bothofthemgivetwo

differentdistinctmoods.Itisgenerallyremarkedthatwhilethemajorscale

expresseshappiness,theminorscaleisgenerallyassociatedwithsadnessand

sorrow.Cookeintroducesthemasbeingthetwinofexpression.Byshowing

similaritiesinmusicalscoresthroughhistory,heisabletoshowhowspecific

musicalphrasingisusedtoexpressadefinitemoodandemotionalcontent.

19
 p114

The following example is taken from Cooke books. Instead of quoting his

explanation, we will try to explain it in a way to make non-musicians

readersunderstand. The lines represent the place in which the notes are written.

From the bottom line to the top line, the notes are written from the lower pitch to the

higher pitch. Each line stands for a note. It means that the note placed on the first

bottom line is a note of a lower pitch than the note placed on the second line.

Ifweunderstandtherelationbetweenthelinesandthepitchwemayunderstand,

withoutknowingthenameofeachindividualnotethatbothphrasesaboverepresent

anascendingphrasestartingfromalowerpitchtoahigheroneanddescendingonce

again.

ThefirstlineintakenfromWagnersParsifal(),whilethesecondoneis

takenfromVerdisOtello.WhileWagnerandVerdihavedifferentstylesand

methodofcomposing,wecannotescapefromremarkingthesamescaleascendance

usedhereinthesamesituationtoexpressacertainmood.

20
 Actually, as Cooke explains in his example, both musical lines occur in tragic

situations. Verdis musical line takes place when Otello,standing by splendid

Desdemona, looks down at her, still loving her, but determined to kill her.

Wagners musical line occurs when Parsifal receives Kundrys soul-seducing

kiss cries out in agony redeem me, rescue me from guilt stained hands.QUOTE In

both operas, the protagonist is faced to a dramatic situation echoing a psychological

climax.

From a musical perspective, both musical lines are written under the minor

key and both follow the chronological development 1-2-3-4-5. If we consider the

table above we, we are informed that such musical phrase express an outgoing

feeling of pain andand a protest against misfortune. Indeed, while Parsifal is

protesting against his misfortunate situation and is asking for some spiritual forces to

rescue him, Othello by his silence is expressing sorrow and pain for the act he is

willing to accomplish, which is murder.

Thus, we understand that pitch, from an analysis of melodic lines, is able to

communicate a discourse to the audience related to emotion, mood and feelings.

This example shows that the fusion of the text and music helps to construct a full

connotative meaning. Musical phrase alone are here to sustain the discourse which is

meant to transmit to the audience. Then, music in the context of formulating

complete meaning can be seen as a suggestive language.

It is this musical power of suggestion that interested poets in their epression of

meaning in their poem. While language in it self suggests logical meaning,

21
suggestive tools used in musical expression may help the poet in conveying extra

linguistic messages related to mood, feeling EXETERA.

III. musicaldiscourse in the literary text :

Musical Discourse vs literary discourse
It is important to understand that the use of musical elements

in the literary text is meant for specific purposes. One can

understand those purposes

In order to detect the musical element susceptible of being

used by poets, it is important to understand not only

22
 similarities, but also the differences between the

communicative qualities of both music and language.

While we have shown that music, just like language is able to

communicate a discourse, music seems unable by itself to

communicate

I. Music and experimentation as a way for modern

expression
Symbolism the myth exetera
By exploring the interaction of these literary artists with music

we
develop another means by which to engage in a reevaluation

of modernism.

Whenwesay"musicandliterature",wemostlyrefertotheuseoftextsbycomposers,theborrowingof
musicalformsbywritersoreventomusicrelatedthemesinfiction

Finally,whenweassociatemusicwithpoetry,weperhapsthinkfirstand
foremostofprosody,ofthemelodyofspeechandoftherhythmofwords.But
onceagain,prosodyatleastinitstraditionalacceptationisonlyaminor
phenomenoninthefieldIaminterestedin.

BECAUSELANGUAGEISUNABLETOEXPRESSOBJECTIVEREALITY,THEYFOCUSED
ONSUBJECTIVEREPRESENTATION

REJECTION OF THE OBJECTIF RATIONAL MIND

One of the many different ways to define modernism is by looking to

its aim for experimentation. In an era where form became strongly

linked to content and where the literary text became an artistic object,

formal experimentation was the way by which authors exhibited the

possibility of a text to create connection and establish a web of

23
meaning. Formal experimentation was the way to show the autonomy

of a text

is able to express meaning in a splendid isolation

This desire for experimentation is the result of a feeling that

traditional way of expression became ill fitted to express modern

subject matters.

Scientific discoveries and advances in psychology and the

unconscious pushed modernists rejecting Romantic ideals .

Accordingly the releam of supernatural and transcendental and

metaphysical , and its powerful magic to exalt the individual is now

demystified. While some authors like Ezra pound rejected the idea of

religion and its power, some other poets such as Eliot instead of

rejecting religion , shows an interest in demystifying the way in

which aesthetic can leads towards religious redemption. Thus, the

major concern in modernism is not really about replacing the

religious with the aesthetical, but rather about demystifying how

aesthetic can function as an element to discover ones identity either

by projecting oneself into metaphysical religious ideas or secular

ones.

In each case, aesthetic became as a medium to inter into this mystic

and

In either context, aesthetic and experimental texts became a physical

manifestation of such transcendental experience that leads toward

24
revelation, either religious or self centred ones . in either cases the

question of identity is central to such experience. In Eliot case, his

theory of impersonality will lead him to accept supernatural power of

Christ as a supreme revelation and source of redemption.

From many other subject of experiment, music is central to Eliot.

Poetry is not the expression of personality but rather an extinction of

personality .it is not the spontaneous overflow of powerful feelings

but rather

The only way of expressing emotion is by finding an objective

correlative. A set of object and ideas which shall be the formula of

that specific emotion .

In HIS QUEST FOR objective poetry, Eliot finds in music the power

to organize his objective coreelatives in the text. Whilr the mythical

method gives the coherence and the structure of the over all narrative,

musical elements helps to orchestral sing those symbols images in

different counterpoint and motifs to inform the reader about their

thematic dimension and parallelism. The suggestive power of

musical discourse thus help at conveying the meaning that the poem

wats to convey which by the use of words LONE IS UNABLE TO

BE FULLY EXPRESSED.

(THE PROBLEM OF WORDS)

25
 Prosody

https://books.google.dz/books?

id=kuUKoVypTcIC&pg=PA192&lpg=PA192&dq=music+in+Eliot+ash+wednesday

&source=bl&ots=R4Z34lpNTp&sig=belcKpPuugKf3AY0myo6WqCsXos&hl=en&s

a=X&ved=0ahUKEwjt4Yinh5fTAhVM2hoKHchiAM0Q6AEIPTAH#v=onepage&q

=music%20in%20Eliot%20ash%20wednesday&f=false

Counterpoint

Sound and Form in Modern Poetry

https://books.google.dz/books?

id=kuUKoVypTcIC&pg=PA192&lpg=PA192&dq=music+in+Eliot+ash+wednesday

&source=bl&ots=R4Z34lpNTp&sig=belcKpPuugKf3AY0myo6WqCsXos&hl=en&s

a=X&ved=0ahUKEwjt4Yinh5fTAhVM2hoKHchiAM0Q6AEIPTAH#v=onepage&q

=music%20in%20Eliot%20ash%20wednesday&f=false

1.Literary discourse VS musical discourse

2. Musical elements in the literary text

a. Form : Melody / Harmony / structure / polyphony

/monophonyRhythm /Counterpoint/ .

b.content

26
 Music as a symbol / as a way to reach redemption/ secular music vs

religious music / as a way to reach the absolute / as a tool to explore the

unconscious

Till this point, we have been showing how music communicates emotion and howis

it possible to consider music as discourse. We have looked how musical notes can

be a medium of mood and feelings, and via the use of some extra musical material,

can also represent ideas. Since our study relates to the analogy between music and

poetry, mainly the use of musical techniques in poetry, we need to investigate for the

musical tools that can be used in poetry for the sake of expression. In this case,

music has to be seen as an extra poetical device. Not all musical notions are to be

considered. Some of them such us pitch will be hard to consider. In this part of our

study, our aim is to look to the different devices that may constitute the musical

discourse in a poetical context, that is words written on a paper.

Formal elements

A formal analysis basically looks at the horizontal and vertical construction of a

text.For example, a discussion about the form of a poem may question whether the

poet is using iambic verse or free verse. It may look at the construction of the

syllable and the rhythmic pattern of the lines. In this case we are analysing the form

from a horizontal perspective, analysing line per line.

That is to say, the analysis of the formal aspects of the poem is horizontal analysis.

27
In music, formal musical analysis instead of being horizontal is rather a vertical one.

Indeed, a horizontal analysis of a musical score is a melodic analysis. The previous

example taken from Cookes the language of music takes in consideration the way in

which notes are organized one after the other and gives us information about

ascending pitch or descending pitch and results in a melodic analysis.

Talking about musical form in a poetic situation may be like talking about the

structure of the poem ( the plot) while talking about a horizontal description of music

may resemble a melodic analysis as viewed previously with Cooke analysis of pitch.

In the dictionary of poetry, Form refers to ..

In music form refers to pre established structures that composers use to establish

their music. Form is to e seen as blank mesures that we need to ,,,,,

The discution about the form in music includes then the chronological development

of a musical piece and deals with the way in which meaningful uterrences occurs and

how transition appear and let the continuity of the piece. For this reason , Formative

musical analysis include a discussion of the motif, the theme , the development of

the theme . While the theme in a poem reflects the general idea, the theme in a piece

of music rather refers to a specific musical idea and its development. Thus thinking

in terms of musical motives and themes in the composition of poetry may lead to an

aesthetic organisation which transcend the basic notion of structure known in the

domain of literature.

28
The analogy between music and poetry at the level of from seems not worth to

investigate on the surface. While we are searching for extra poetic material for the

purpose of studying the use of music in poetry, the device of structure is an initial

element which belongs to the native poetical material. Still, the definition of the term

structure and the way in which it manifests itself in both arts may be quiet different.

Thus the possibility of using structure in a musical sense through the creation of

poetry can be a productive possibility.

Content

While

Melody and Harmony

Eliot and polyphony use of multiple voiced cubism use of multiple music +the

waste land as a museum.

Rhythm

Counterpoint

Appendix A: Deryck Cookes Basic Terms of Musical Vocabulary9

http://www.escom.org/proceedings/ICMPC2000/poster3/Hampson.htm

29
 http://www.laits.utexas.edu/wagner/ringmotives/cooke.html

Harmony

Structure

Polyphony

Rhythm

Counterpoint

stravinsky

Some musicologists, like Deryck Cooke, propose that in addition to being a

medium by which to experience and express emotional variance, tonal music is a strictly
codified system of language and communication. He stresses that the experience of
music is not as subjective as the majority of researchers believe. Cooke and other
researchers, who support music as a discourse that can stand alone as a complete
system of communication, purport that each degree (pitch) on a given scale signifies a
certain shade of an emotion and causes a precise reaction from people from contrasting
cultures.
For example in this proposed role of music, researchers affirm that a rise in pitch
on a minor scale can be shown to induce excited and aggressive personal affirmations.
Another concept that is on the forefront of musicology is the definition of musical
discourse as a language for which there exists no known words; a type of collective
poetry born of humankinds capacity for deep emotion.

Jackderidaandmusic(methodology)https://books.google.dz/books?

id=Ho8Msr7Iw7QC&printsec=frontcover&dq=music+and+literature&hl=en&sa=X&

ved=0ahUKEwiS3Kz4vd3SAhWm14MKHZ4WALIQ6AEIJTAC#v=onepage&q=mu

sic%20and%20literature&f=false

Iwilltrytoarguethatmusiccan,andshould,beanalysedasdiscourse,
bydrawingontheworkofmusicologistsandgivingexamplestosomemusical
pieces.Theobjectiveistofindawaytoconductthisthesisunderthehopeto

30
findamethod,whichwillpermitnonmusicologiststounderstandtheprocess
ofanalysis.

Inotherwords,tomovebeyondimpressionisticdescriptionandadopt
thesamerigourcriticaldiscourseanalystsapplywhenanalysinglanguageand
speech.

Intheirattempttofindauniversalagendaintheinterpretationofthe
meaningofmusic,differentmusicologistsseemusicasadiscourse.

Whiletheadvocatorsofprogrammusicfoundthepossibility

sincetheearlynineteenthcentury,composers,musicologistsandphilosophers
havebeguntoexpressasenseofembarrassmentaboutdescriptivemusic.

Thecriticalmusicanalyst,however,shouldpayattentiontothedescriptive,
andlinkittodiscourse,inthecaseofHonegger,forinstance,tothediscourses
oftechnologyoftheperiodRussianconstructivism,theworkofLe ger,Fritz
LangsMetropolisandsoon,allofwhichusedmachinemotifseitherto
celebrateortocritiquethenewpoweroftechnologyinsociety.Musiccan
engagelistenersemotivelywithsuchdiscourses,makingthemfeelthemajestic
powerofthemachineanditspromiseofprogressordreaditsmechanical
monotonyanddehumanizingeffects.

Cookes(1959)Languageofmusic,forinstance,isanastounding
compendiumofmusicalmotifsandconvincinglybringsoutthequiteconstant
meaningsthesemotifshavehadinWesternmusicoverthecenturies.Lomaxs
(1968)Folksongstyleandcultureisanequallyimpressivecompendiumof
aspectsofsingingstylesandtheirsocialmeaningpotentials.Theworkofthe
CanadiancomposerandtheoristSchafer(1977,1986)isrepletewithinsights
onalmostallaspectsofmusicalmeaning.McClarys(1991)feminist

31
musicologyrevealsthepervasivenessofgenderdiscoursesinmusic.The
workofShepherd(1991)andTagg(1982,1984,1990,1994)onpopularmusic
isarichsourceofideasforthecriticalstudyofvoicequality,tonality,
musicaltimeandmanyotherissues.Writerssuchasthesehaveshownthat
musicalsignifiers,aspectsofmelody,harmony,musicalstructure,rhythmand
timbre,canbeconvincinglylinkedtosocialmeaningpotentialsinwaysthat
canhelpusanalyseboththehegemonicideologicalworkandthecounter
hegemonicworkofmusicinsocietyandtounlocktheastoundingpotentialof
musictoheraldemergent,social,cultural,politicalandeconomic
developments,oftenevenbeforetheybecomevisibleinotherdomainsofsocial
life(cf.Attali,1985).

https://books.google.dz/books?
id=cBDvCAAAQBAJ&pg=PA117&lpg=PA117&dq=aesthetic+and+discourse+musi
c&source=bl&ots=_a7xtsQIfE&sig=yJCaZQPPBtq77D0AI2d7AKXvQPk&hl=en&sa
=X&ved=0ahUKEwjzj4L39NXSAhVHVhQKHSs6BvsQ6AEIPTAE#v=onepage&q=
aesthetic%20and%20discourse%20music&f=false

structuralismhttp://www.celea.org.cn/teic/72/72111.pdf

musicandword:http://www.johnhalle.com/musical.writing.technical/CELS.pdf

MUSICALPARADIGM:https://msu.edu/~lvh/NewFiles/Chapter%202.pdf

Bookofmusicaestheticsummarized:https://books.google.dz/books?

id=AltZ6ONzimEC&printsec=frontcover&dq=inauthor:%22Roger+Scruton

%22&hl=en&sa=X&ved=0ahUKEwjT6ovAiNnSAhVGPBQKHatQCw4Q6AEIJTAC#v=onepage&q

&f=false

Musicaesthetic

https://books.google.dz/books?

id=Id7nCwAAQBAJ&printsec=frontcover&dq=The+Aesthetics+of+Music&hl=en&s

32
a=X&ved=0ahUKEwjK_u2ckNnSAhUW_mMKHSCUCGYQ6AEIGjAA#v=onepag

e&q=The%20Aesthetics%20of%20Music&f=false

Tseliotproblemofcommunicationandusesmusictoreestablish

communication

MusicandmeaninginModernistspoetry

Thenotionthatmodernistliteratureshouldnotbeseeninavacuum,butin

relationtootherartforms,hasbeenwellestablished.AsDanielAlbrightsuccinctly

putsit:Thetwentiethcentury,perhapsmorethananyotherage,hasdemandeda

styleofcriticisminwhichtheartsareconsideredasawhole(2000a,vii).Whilst

figurativemusicisusedwithinmodernistliteratureforavarietyofreasons,modernist

writerswereoftendrawntomusicinordertotranscendstructureandreacha

harmoniouscoexistence(Aronson1980,32).Indeed,themodernistsfascination

withmusicwasclearlylinkedtotheirpreoccupationwiththeproblemsofform.Inan

attempttoovercomethecrisisoflanguage(Sheppard1976,323)theyfrequently

turnedtomusic,becauseofitscapacitytosurmounttheproblemsofformand

languagethroughitspotentialtoexpressahigherlevelofemotion(Bucknell2001,3).

Inmanyrespectsthen,asGreenbergaptlypropounds,music...providedasortof

idealizedmodelforthereformulationofartandlanguage(1986,36).Forthe

modernists,musicbecameaformalandaestheticideal:ameanstotranscend

commonplacelanguageandmovetowardsdeepersignificance.

33
 Thisconnectionbetweenwordsandmusicisoneoftheexperimentalinterests

ofmodernistspoets.Indeed,modernistsstrivefornewleadthemtointerconnect

theirwritingwithotherarts,leadingtointerdisciplinaryartisticcreations.

34
 Justlikepoetryinneoclassicalperiodbecameatoolforpragmaticresults

teachandplease,musicinthe19thcenturyknewagrowingimportanceinthesocial

lifeof19thcenturypeople.Inthisconcern,onequestioningrelatestowhether

instrumentalmusicisabletocommunicateideasandmeaningtotheaudiencejustlike

languagedoes.WhileThisdivergenceininterpretationcanbesummarizedinthe

significantdebatebetweenEduardHanslick,amusiccriticandmusicologist,and

composerRichardWagner,othercomposersandthinkersbackinthe19thcentury

furtherquestionedtheeffectofmusicovertheaudience.Allthosecontributionhelped

toshapemusicaestheticasatrendofstudyandgivesusthenecessarymaterialto

approachmusicfromaliteraryperspective. Thus,reviewingsomeofthose

perspectiveisimportanttohavethenecessarymaterialtounderstandthepossible

relationbetweenmusic,emotions,expression,ideas,andthusliterature,aswellasto

understandModernistsuseofmusicintheirpoems.

I. MusicCriticismofthe19thcentury:

Musiccriticismofthe19thcenturyconsiderablydevelopedtheaestheticstatus

ofmusicoverthedecades.Amongmanymusiccritics,EduardHanslick,FranzLiszt

andRichardWagnerbroughttolighttheimportanceofmusicasasocialandaesthetic

culturalactivity.Thesemusicianswrotearticlesandevenbooksabouttheplacethat

musicshouldoccupyinsociety.Inordertoevaluatehowthesemusiciansinfluenced

andwereinfluencedbyaesthetictheories,letusexaminetheirwrittenworkandideas

onmusic.

Findusicleredemptionrationality

Irationel..Nazis

35
 1.Irationel

2.ezrapound

3.occultism.Irationel

4,Williamblake

5.dieuquimeurtdantegothique

6.DANTE

7.WAGNERTHEWALKERIESDESCENTEAUENFER

8.hopeyeats..dhlowrancesubsconscious

9.SUBCONSCIOUS

10.Fllamehumain

11.irrationalityandmusic

12.

Musicnotasadiscource

Musicasadiscource:liszt/wagner/nitzsche/languageofmusic/

1.Musicaestheticandthepossibilitytofindmeaning:

36
 Whatisaesthetic?

Aestheticofmusic

1.formalists

2.programmusic

3.thepossibilityforamusicaldiscourse:

.thequestionofmusicalmeaningmeaning???(different
philosopher)

possibilityofextractingmeaning(amethodology)cocke

2.Musicaestheticandthepossibilityofadiscourseasseenbymodernists
author;

1.T.SEliot

2.Ezrapound

Aeathetic

AestheticTheoriesonMusicduringthe19thCentury

Duringthe19thcentury,thestatusofmusictookanunpredictablejourney:frombeing
placedonthelowestlevelamongsttheartstooccupyingthehighestrank.At
thebeginningofthecentury,theaestheticperspectivesonmusicweredominatedby
Kant'sunfavorabledefinition.Bytheendofthecenturyitculminatedwith
Nietzsche'slaudatoryideas.Indeed,thestatusofmusicwasnotonlyamatterofdebate
formusiccritics,butalsoforphilosophers.Whilemusiccriticstriedtoestablishif
theprogrammaticapproachtomusicwasanappropriateandavaluableone,
philosopherstartedtoincludethoughtsonmusicintheiraesthetictheories.Whatlinks
thosereflectionsonmusictooursubjectliesinthefactthatwhilethestatusofmusic
wasinacontinuousevolutionthroughouttheseaesthetictheories,musicwastreatedas
ameanstovarioussuperiorends.Intheattempttodepictmusicasahumanactivity,
philosophersalwaysconsideredmusicinconnectionwithsomethingelse.Ourendin
thisthesisistoshowthatmodernistsAmericanpoetusedmusicforthepurposeto
establishthesamemetaphysicalconnections,Ortoevokewhatisnotevocablevia
wordsalone.

37
19thcenturyaesthetictheoriesrevealtwogeneralandsuccessivedirectionsinthe
discussionofmusic:1.)MusicisseenasameanstotheAbsolute(Schelling,Hegel);
and2.)Musicisseenas"alleviatingthepain"ofhumanexistence(Kierkegaard,
Schopenhauer).Nietzscheistheonewhocombinesbothtendencies.Forhim,music
hasthepowertobringsalvationtohumanity,butitisalsoarepresentationofthe
essenceofthings.Allapproacheswillbediscussedfromachronologicalperspective,
studyingtheevolutionofthestatusofmusicinitsprogress.

MusicasaMeanstotheAbsolute:
Schelling
and
Hegel

ThomasMann.Althoughhecountsasawriter,itisjustasclearthatheisa
philosopheraswelljustastheinfluenceofNietzscheisobvious.Mannalsothoughta
lotaboutmusicandwroteessaysonWagner(LeidenundGreRichardWagners
WikipediaonlyGermanwiki,sorry)andreflectedonmusicinTheMagicMountain
andDoctorFaustus.AthinkerassociatedwithMannis....
TheodorAdorno.Whoalsowroteaboutmusic(MusikalischeSchriftenetc.).As
farasIknow,he'simportantforSchnbergstwelvetonemethodandhencefor
modernmusic,butI'mnotanexpertonthat.
RichardWagnerwasmentionedalready,buthisinfluenceisnottobe
underestimated.Giventhathewasselfawareofwhathewasdoingandhada
theoreticalunderstandingofitslogan:Gesamtkunstwerk(synthesisofthearts).

Chapter3:TheBeautifulinMusic

Chapter7:FormandSubstance(Subject)asAppliedtoMusic

Hanslickconcludesthattheideainmusiccanonlybepurelymusical(Musicconsists
ofsuccessionsandformsofsound,andthesealoneconstitutethesubject),andthe
valueofapieceofmusicisdeterminedbytherelationbetweentheidea(forexample
thetheme)andthewholeofthework.Hewrites,

Wecannotacquaintanybodywiththesubjectofatheme,exceptbyplayingit.The
subjectofacompositioncan,therefore,notbeunderstoodasanobjectderivedfrom
anexternalsource,butassomethingintrinsicallymusical;inotherwords,asthe
concretegroupofsoundsinapieceofmusic.Now,asacompositionmustcomply
withtheformallawsofbeauty,itcannotrunonarbitrarilyandatrandom,butmust
developgraduallywithintelligibleandorganicdefiniteness,asbudsdevelopintorich
blossoms.[6]

38
 Wagnerandhisdisciplesarguedthatinstrumentalmusiccouldcommunicate

emotionsandimages;composerswhoheldthisbeliefwroteinstrumentaltonepoems,

whichattemptedtotellastoryordepictalandscapeusinginstrumentalmusic.

Hanslickandhispartisansassertedthatinstrumentalmusicissimplypatternsofsound

thatdonotcommunicateanyemotionsorimages.

Thisdebategoesbackto19thcenturymusicalaesthetic.Indeed,themost

influentialmusiciansofthe19thcenturycomposerslikeWagner,Schuman,Liszt

triedtomakeanaestheticstatementtroughtheirmusicalwork,makingacaseforthe

riseofprogrammusic.AccordingtoHenryRaynor,theconnectionbetweenthe

writtenwordpoetry,literatureandmusicmighthavebeenaconsequenceofthe

factthatthecomposers"subconsciously"realizedthat,inthisnewform,musiccould

reachmorelistenersthanbefore.22Moreover,nationalisticandpoliticalaspectsin

Wagner'soperaticworkcouldalsobeconnectedwiththedesireofreachingawider

audience.

1Wagnervsothers

https://www.jstor.org/stable/766482?seq=1#page_scan_tab_contents

2WORDSCANNOTEXPRESSEVERYTHINGSAMUELBECCKET:

22HemyRaynor,MusicandSocietySince1815(London:Barrie&Jenkins,1976),p.22

39
 http://etheses.whiterose.ac.uk/2507/1/DX202704.pdf
Whilecritics,actorsanddirectorshavefrequentlyreferredtothe"musicality"
ofthe
worksofSamuelBeckett,nobodyhasreallyaddressedthequestionofquite
howor
whysuchaneffectisachieved.MusicandLanguageintheWorkofSamuel
Beckett
startsfromtheperceptionthatthemusicaleffectactuallystemsfromBeckett's
frustrationwiththeinadequacyofwords,andhisconsequentbreakdownof

conventionalstructuresandthereferentialfunctionoflanguage.

HarryPartchandsomeothermusicologists,suchasKyleGann,havestudied

andtriedtopopularizemicrotonalmusicandtheusageofalternatemusicalscales.

ManymoderncomposerslikeLaMonteYoung,RhysChathamandGlenn

Brancapaidmuchattentiontoasystemoftuningcalledjustintonation.

HADLESCOMCEPTDANSLALITERATURE:BAUDELAIREMODERNISM

Lamusicnecommuniqudesidee=shopenshourditquelamusiccommuniqu
labsolue

Inthe20thcentury,importantcontributionstotheaestheticsofmusicwere
madebyPeterKivy,JerroldLevinson,RogerScruton,andStephenDavies.However,
manymusicians,musiccritics,andothernonphilosophershavecontributedtothe
aestheticsofmusic.

Thephilosophicalstudyofmusichasmany.Somebasicquestionsinthephilosophy
ofmusicare:

Whatisthedefinitionofmusic?(whatarethenecessaryandsufficient
conditionsforclassifyingsomethingasmusic?)

40
 Whatistherelationshipbetweenmusicandmind?

Whatistherelationshipbetweenmusicandlanguage?

Whatdoesmusicalhistoryrevealtousabouttheworld?

Whatistheconnectionbetweenmusicandemotions?(inthe19thcentury
therewasadebateoverwhetherinstrumentalmusiccouldconveyemotion)

Whatismeaninginrelationtomusic?

E.M.Forster:"NotListeningtoMusic"

Onecanquestionwethermusicinitdelfisabletoexpressideas
ornot.

Thisdebatehasbeenthesubjectofstudyfromthepartofboth
poetsandmusiccritics

Inhisessaynotlisteningtomusic,afterdescribingthewaymusicalcritics
areabletolisteningtomusic,hecomparesittoaliterarycriticsanalysingtheplotofa
story:

Professionalcriticscanlistentoapieceasconsistentlyandassteadily
asiftheywerereadingachapterinanovel.Thisseemstomean
amazingfeat,andprobablytheyonlyachieveitthroughintellectual
training;thatistosaytheyfindinthemusictheequivalentofaplot;
theyarefollowingthegroundbassorexpectingthethemetoreenter
inthedominant,andsoon,andthiskeepsthemontherails.

Afterestablishingthisrelationshipbetweentheliteralandthemusical,Froster
distinguishesbetweentwokindsofmusic.ThosetwokindsofmusicthatFroster
referstoarewhatmusiccriticscallabsolutemusicandprogrammaticmusic.Fosterin
hisessayreferstothosetwokindofmusicasmusicthatremindsmeofsomething,"
and"musicitself.":butIwillcalloneofthem"musicthatremindsmeofsomething,"
andtheother"musicitself."Insimplerwords,onecansaythatwhileprogrammatic
musicismeanttoconveyideasandmeaningtotheaudience,absolutemusicisisjust
meanttoappealtotheearofthelistenerforthepurposeofdelight.Fromalinguistic
perspective,onemaysaythatwhileprogrammaticmusiclinksitcontenttothe

41
externalworldwitharelationofsignifier/signified,absolutemusicjustrefersto
itself.Intheveinofhisdescription,FosterreferstoWagnermusicasanexampleof
musicthatremindsofsomething:

WithWagnerIalwaysknewwhereIwas;heneverletthefancyroam;
heordainedthatonephraseshouldrecallthering,anotherthesword,
anothertheblamelessfoolandsoon;hewasaspreciseinhis
indicationsasanorientaldancer.Sinceheisagreatpoet,thatdidnot
matter,butIacceptedhisleitmotivsystemmuchtoreverentlyand
forceditontoothercomposerswhomitdidnotsuit,suchasBeethoven
andFranck.

Fosterconcludeshisessaybyclaimingthathefinallyprefersabsolutemusic.
Accordingtohim,programmusicdistractsthelistenerfromthehearingexperienceby
referringtotheexternalworld.Ontheotherhand,absoluteismorerealthanprogram
music,andmorerealthananythingelse.AccordingtoFoster,becauseitdoesnot
referstoanythingmortal.Absolutemusiccanneverberuinedornationalized,and
thusisimmortal,pure,andhastheabilitytogettothecentreofreality:

Yetthereisadanger.Musicthatremindsdoesopenthedoortothat
impoftheconcerthall,inattention.Tothinkofagraygreentapestryis
notverydifferentfromthinkingofthebacksofblurredSoIdoprefer
musicitselfandlistentoitandforitasfaraspossibleitseemsto
bemorerealthananything,andtosurvivewhentherestof
civilizationdecays.InthesedaysIamalwaysthinkingofitwithrelief.
Itcanneverberuinedornationalized.Sothatthemusicwhichis
untrammeledanduntaintedbyreferenceisobviouslythebestsortof
musictolistento;wegetnearerthecentreofreality.

DifficultRhythm:MusicandtheWordinE.M.Forster.ByMichelleFillion.

MichelleFillionsstudyoffersaverycomprehensiveandperceptiveassessmentofthe
roleofmusicinE.M.Forsterslifeandwork,withafocusonhisnovels.
Approachingthisinterdisciplinarywordandmusicstudyasamusicologist,Fillion
analysesthedifferentrolesandfunctionsthatmusicplaysinForsterstexts,and

42
showshowmusiciswoveninnumerouswaysintotheplot,symbolism,narration,
context,andstructureofallhisnovels(p.xviii).Hermainhypothesisisthatmusic
allowedForstertotranscendtheprecisionofthewordand,inhismostvisionary
momentsofdifficultrhythm,toopenthenoveltothetimelessandtheineffable
andultimatelytotheambiguitiesofmodernlife(p.xvii).Musictherebyserved
Forsterasanadditionalmeansofexpressioninhiscontributiontoliterarymodernism.

Interestingly,musiccriticlabelwagnersmusicasbeingprogrammusicforitsrich
content.ThankstoWagnertechniqueoftheleitmotif,Wagnerisabletoestablisha
relationbetweenexternalsignifiedandsoundsassignifiers

Onlyapuristwouldcondemnallvisualparallels,allemotionallabelings,all
programs.

Yetthereisadanger.Musicthatremindsdoesopenthedoortothatimpofthe
concerthall,inattention.Tothinkofagraygreentapestryisnotverydifferentfrom
thinkingofthebacksofblurred.Thesounds!Itisforthemthatwecome,andthe
closerwecangetupagainstthemthebetter.SoIdoprefermusicitselfandlistento
itandforitasfaraspossible

Musicissoveryqueerthatanamateurisboundtogetmuddledwhenwritingaboutit.
Itseemstobemorerealthananything,andtosurvivewhentherestofcivilization
decays.InthesedaysIamalwaysthinkingofitwithrelief.Itcanneverberuinedor
nationalized.Sothatthemusicwhichisuntrammeledanduntaintedbyreferenceis
obviouslythebestsortofmusictolistento;wegetnearerthecenterofreality.Yet
thoughitisuntainted,itisneverabstract;itisnotlikemathematics,evenwhenituses
them.TheGoldbergVariations,thelastBeethovenSonata,theFranckQuartet,the
SchumannPianoQuintetandtheFourthSymphoniesofTchaikovskyandofBrahms
certainlyhaveamessage.Thoughwhatonearthisit?Ishallgettieduptryingtosay.
Theresaninsistenceinmusicexpressedlargelythroughrhythm;thereisasensethat
itistryingtopushacrossatussomethingwhichisneitheranestheticpatternnora
sermon.ThatswhatIlistenforspecially.

43
ThisresearchpapertriestoprovethatsuchactivityistheresultofsomeFrench
SymbolistsheritageCHAPTER01:
INROMANTICPERIOD,PEOPLEDISAGREE;

MUSICHASNOMESSAGETHEOTHERS

MUSICHASAMESSAGEWAGNER

BAUDELAIREUSEDMUSIC(MESSAGEORNOMESSAGE??)

PAULVERLAINE(MESSAGEORNOMESSAGE?)

INRELATIONTONITCHANDSCHOPENHOUR.

Inthe19thcentury,asignificantdebatearosebetweenEduardHanslick,amusic
criticandmusicologist,andcomposerRichardWagnerregardingwhether
instrumentalmusiccouldcommunicateemotionstothelistener.Wagnerandhis
disciplesarguedthatinstrumentalmusiccouldcommunicateemotionsandimages;
composerswhoheldthisbeliefwroteinstrumentaltonepoems,whichattemptedto
tellastoryordepictalandscapeusinginstrumentalmusic.Hanslickandhispartisans
assertedthatinstrumentalmusicissimplypatternsofsoundthatdonotcommunicate
anyemotionsorimages.

Inthe19thcentury,theeraofromanticisminmusic,somecomposersandcritics
arguedthatmusicshouldandcouldexpressideas,images,emotions,orevenawhole
literaryplot.ChallengingKant'sreservationsaboutinstrumentalmusic,in1813E.T.
A.Hoffmanarguedthatmusicwasfundamentallytheartofinstrumentalcomposition.
Fiveyearslater,ArthurSchopenhauer'sTheWorldasWillandRepresentationargued
thatinstrumentalmusicisthegreatestart,becauseitisuniquelycapableof
representingthemetaphysicalorganizationofreality.

AlthoughtheRomanticmovementacceptedthethesisthatinstrumentalmusichas
representationalcapacities,mostdidnotsupportSchopenhauer'slinkingofmusicand
metaphysics.Themainstreamconsensusendorsedmusic'scapacitytorepresent
particularemotionsandsituations.In1832,composerRobertSchumannstatedthat
hispianoworkPapillonswas"intendedasamusicalrepresentation"ofthefinalscene
ofanovelbyJeanPaul,Flegeljahre.Thethesisthatthevalueofmusicisrelatedtoits
representationalfunctionwasvigorouslycounteredbytheformalismofEduard
Hanslick,settingoffthe"WaroftheRomantics."

Thisfightdividedtheaestheticsintotwocompetinggroups:Ononesideare
formalists(e.g.,Hanslick),whoemphasizethattherewardsofmusicarefoundin
appreciationofmusicalformordesign,whileontheothersidearetheantiformalists,
suchasRichardWagner,whoregardedmusicalformasameanstootherartisticends.

44
Agroupofmodernistwritersintheearly20thcentury(includingthepoetEzra
Pound)believedthatmusicwasessentiallypurebecauseitdidn'trepresentanything,
ormakereferencetoanythingbeyonditself.Inasense,theywantedtobringpoetry
closertoHanslick'sideasabouttheautonomous,selfsufficientcharacterofmusic.
(Bucknell2002)DissentersfromthisviewnotablyincludedAlbertSchweitzer,who
arguedagainstthealleged'purity'ofmusicinaclassicworkonBach.Farfrombeing
anewdebate,thisdisagreementbetweenmodernistsandtheircriticswasadirect
continuationofthe19thcenturydebateabouttheautonomyofmusic.
Among20thcenturycomposers,IgorStravinskyisthemostprominentcomposerto
defendthemodernistideaofmusicalautonomy.Whenacomposercreatesmusic,
Stravinskyclaims,theonlyrelevantthing"ishisapprehensionofthecontourofthe
form,fortheformiseverything.Hecansaynothingwhateveraboutmeanings"
(Stravinsky1962,p.115).Althoughlistenersoftenlookformeaningsinmusic,
Stravinskywarnedthatthesearedistractionsfromthemusicalexperience.

THECHAPTERS:

1
Thus,inthefirstchapterofmythesis,thecentralEuropeanmusiccritic's
perspectiveonmusicinthe19thcenturywillbepresentedasadichotomybetween
absoluteandprogrammusic.Hanslick'sworkwillserveasanexampleforthe
supportersofabsolutemusic,whilewritingsofFranzLisztandRichardWagnerwill
provideexamplesinfavourofprogrammusic.Thegoalistodetel111inethemusic
critic'sideologicalinterestinmusicanditsrole,andtofollowtheevolutionofmusic
frombeingconsideredapurelyaestheticpleasuretoanecessaryhumanactivity,with
aspecificsocialandexistentialrole.

2
Thesecondchapterofthisthesiswillshowhowthe19thcenturyisaperiodwhen
philosophersnotonlybegantopaymoreattentiontoandwriteaboutmusic,butthey
alsostartedtoincludemusicintheirphilosophicalsystemsandaesthetictheories.
UndertheinfluenceofImmanuelKant'sphilosophicalwork,thephilosophyofthe
19thcenturymakesitsdebutwiththeworksofstrongadherentsof"Idealism,"likeF.
W.J.SchellingandG.W.F.Hegel.Inheritingthe"philosophicalsystem"asthemost
appropriateformofunderstandingtheworld,fromKantaswell,theidealistsmostly
dealtwiththespiritualnatureofrealityandthesignificanceofhumanreasoninthe
questfor"Truth."AsopposedtoKant'stheory,theidealistsconsideredthathumans
cangainaccesstotheTruththroughspecialmeans,likephilosophy,religionorthe
alisoAstheartswereunderstoodasapossiblewayofapproachingTruth,thisisthe
contextinwhichtheystarttobecomemoresignificantforphilosophicalandaesthetic

45
investigation.Disregardingthesystemformat,ArthurSchopenhauerhadadifferent
approachtotheworldandhumanexistence.AslaterdiscussedbyKierkegaardand
Nietzsche,humanexistenceisevaluatedinrelationtosufferingandpain.Thistime,
thearts,andespeciallymusic,becomeawayofreleasingthepainoftheexistence.

Thus,inordertounderstandthephilosopher'sperspectiveonmusicinthe19th
century,aconciseconsiderationoftheideasonmusicencounteredinthemajor
aesthetic
theoriesofthecenturyisnecessary.Inthesecondchapter,thetheoriesofF.W.J.
Schelling,G.W.F.Hegel,ArthurSchopenhauer,S0renKierkegaard,andFriedrich
Nietzschewillbediscussedandapproachedchronologically,studyingtheevolution
ofthestatusofmusic.ImmanuelKant'sunfavorabledefinitionofmusicwillbethe
startingpointforthediscussionofthephilosopher'sperspective.Theanalysisofthe
abovementionedtheorieswillrevealthestatusofmusicanditsevolutionasameansto
anendliketheAbsolute,ortheIdea,andthenasapossibilityofalleviatingthepain
ofhumanexistence.

Philosophersandcomposersin19thcentury:
file:///Users/Aslo/Downloads/fulltext%20(1).pdf
Musicandliteraturesymbolism
http://www.oxfordwesternmusic.com/view/Volume4/actrade9780195384840div1
002005.xml

https://books.google.dz/books?id=daX
AAAAQBAJ&pg=PA69&lpg=PA69&dq=occult+music+modernism&source=bl&ots
=fLF6uZN5VR&sig=Z3fW0G_CbKNJspCH3eNL2tuwb9o&hl=en&sa=X&sqi=2&v
ed=0ahUKEwjwx7_e2abSAhUFiRoKHf7DBTwQ6AEIHTAB#v=onepage&q=occult
%20music%20modernism&f=false

https://www.amazon.com/ModernistAlchemyPoetryTimothy
Materer/dp/0801431468

newdocumentcontemporary

https://books.google.dz/books?
id=POXeCwAAQBAJ&pg=PA90&lpg=PA90&dq=music+meaning+poetry&source=
bl&ots=fna3pRLxdB&sig=uAF08wBm3aSZN3SgFuqywzhHEY0&hl=en&sa=X&ve
d=0ahUKEwi6kp
VhMrSAhVEvRQKHW4JCAA4ChDoAQhWMBA#v=onepage&q=music
%20meaning%20poetry&f=false

https://books.google.dz/books?
id=hCftCwAAQBAJ&pg=PA170&lpg=PA170&dq=music+meaning+poetry&source
=bl&ots=ryZb_FjdMd&sig=iVYJZLL4_VDFJQpt5oA_Mmzz5ZM&hl=en&sa=X&v
ed=0ahUKEwi6kp

46
VhMrSAhVEvRQKHW4JCAA4ChDoAQhHMA0#v=onepage&q=music
%20meaning%20poetry&f=false

http://gradworks.umi.com/36/15/3615639.html

https://books.google.dz/books?
id=Oz_muvyiaNUC&pg=PA83&lpg=PA83&dq=music+meaning+poetry+THEORY
&source=bl&ots=1Q47keX8rU&sig=p7LU5pLHZ_lnb6l1NruTPRiA_rU&hl=en&sa
=X&ved=0ahUKEwiyt5iEh8rSAhWE7xQKHVcQCjcQ6AEIQzAH#v=onepage&q=
music%20meaning%20poetry%20THEORY&f=false

musicandredemptioninfourquartets

https://books.google.dz/books?id=4RsH
qLy3vIC&pg=PA134&dq=ts+eliot+baudelaire+music&hl=en&sa=X&ved=0ahUKE
wiyceYj8rSAhUCXRQKHQqWD6MQ6AEIHTAB#v=onepage&q=ts%20eliot
%20baudelaire%20music&f=false

wagnerrfooooooramazing:

http://zcswagner.blogspot.com/2013/07/thecompletewagnerwagnerleitmotifs.html

AHHHYAJEDEKAH
https://www.youtube.com/watch?v=8Ij2a4Wep7w

https://books.google.dz/books?
id=PCQVe0AnZWoC&printsec=frontcover&dq=language+of+music&hl=en&sa=X&
ved=0ahUKEwje_6WJtdHSAhWM6xQKHSYfCI4Q6AEILDAD#v=onepage&q=lan
guage%20of%20music&f=false

Chapterone:
Historicalbackgroundandtheoreticalconsideration:

1.Musicalformalismvsmusicalexpression(hanslicksvscoke)
1,musicalformalism
2.musicasexpressivetool
2modernistscontext:
fraizer

lart

sacr

tseliotaffinitysecretsocieties

47
1.thefeelingforexperimentation
2.impossibilitytocommunicationandalienation
3.impossibilitytofindredemption

2.musicasatooltoexpresstheunexpressedwithwords:

Wagnerleitmotif
Example

Eliotleitmotifinrelationto
Baudelairesynthetesiawithwagnertotalart
impossibilityofcommunicationtseliot

musical
1.aesthetics:aesthetic

1.archetype

2.myth

3.

4.

1.Discourcelitmusic

1. whatisdiscourceanalysis

48
 2.aesthetic=structurefond(whatisbeauty)

3.sensequelesprit.sens/esprit/..aesthetic..gays

4.gazehearingperceptioninothertounderstand

5.spiritempirismreality.

Semiotics:https://books.google.dz/books?
id=PCQVe0AnZWoC&printsec=frontcover&dq=language+of+music&hl=en&sa=X&
ved=0ahUKEwje_6WJtdHSAhWM6xQKHSYfCI4Q6AEILDAD#v=onepage&q=lan
guage%20of%20music&f=false

Jamesjoycemusicaldiscourse
http://brightweavings.com/ggk/tiganamusic/

saidhttps://www.academia.edu/3058077/Edward_Said_and_the_Interplay_of_Music_
History_and_Ideology

jeanjacquesnattiezmusicanddiscoursepdf

https://books.google.dz/books?
id=POXeCwAAQBAJ&pg=PA34&lpg=PA34&dq=music+polyphony+and+structure
+in+poetry&source=bl&ots=fna3yQKvbJ&sig=1QDWm9ZD9TtlZEvKdIPgAjfZRq
M&hl=en&sa=X&ved=0ahUKEwippCU8
PSAhVE8RQKHeIVAvkQ6AEITjAJ#v=onepage&q=music%20polyphony%20and
%20structure%20in%20poetry&f=false

Inthischapterwehaveseenhowmodernism,despiteitsinsistenceonitsownmodernityand
originality,wasdeeplyindebtedtonineteenthcenturyaestheticismand,inparticular,French
symbolism.Aesthetesandsymbolistsreactedagainsttheutilitarianbeliefthatartshouldbemoralby
developingthedoctrineofartforartssakeandtheirpoetryfocussedontheevocationofemotions
ratherthanthedescriptionofideasormoralnarratives.Themodernistsinheritedthedesiretocreate
poetrythatwouldexceedthelimitationsoflanguage,andtheirearlywritingaimstoachievethis
throughtheuseofvividimagesandexperimentsinrhythmenabledbytheuseoffreeverse.

THREE VOICES OF MODERN MUSICAL

POETRY: STEVENS, ELIOT, VALRY
TSELIOTTHERHYTHMONIDEAS
EZRAPOUNDABSOLUTERHYTHM.

49