Abstract
It is only on the higher level of abstraction and generalization that the two human branches of acoustic communication, speech and music are separated from each other. Speech is primarily adjusted to the conceptual-verbal symbols and representation of an objectified, static world. In the linguistic communication the main role is played by the elements of noise, the consonants. It has never been doubted that music is a kind of communication, the mediator of human relationships, but it has been a question what music wants to express. Since the Pythagoreans, some believe to find the key to interpreting its message in the common quantifiable nature of the musical medium and the cosmos. Another historical tradition considered music as the direct expression of human emotions. Representants of the doctrine of imitation derived music from the intonation of speech and the text seems for many to be a support to "understand" music. Music separated from the primary source of sound phenomena and their direct sensual effect constructed a specific communication system. It possesses an inestimable potential richness of discrete pitches and times, colours and sound intensity. The infinite potentials of successive and simultaneous combinations are suitable for erecting the audible, dynamic models of human relations and types of behavior, internal events and interactions, different situations. European polyphony established a strictly regulated, closed syntax of musical communication which comes close to conceptual precision.
Recommended Citation
Chakraborty, Ananya; Lall, Hrithik; and Biswas, Sreyashi
(2024)
"MUSIC THEORY,"
International Journal of English Learning & Teaching Skills (IJELTS): Vol. 1:
Iss.
4, Article 9.
Available at:
https://research.smartsociety.org/ijelts/vol1/iss4/9