The Emotional Palette of Music as a Semantic System
Article Sidebar
Main Article Content
Abstract
The article examines the mechanisms of transmission of emotive information in the European musical tradition. The author highlights two cardinally different processes of formation of emotions in music. They are: the generation of emotional response in the sensorial system of a concrete listener directed by the impact on “the strings of his heart,” and the actual transmission of emotive information, the conductor of which was the ramified system of attributes of emotions. In the most distinct artistic form the attributes of emotions have manifested themselves in the art of the theater, presenting the main expressive instrument of the group of actors. Music is devoid of the possibility of making direct use of human emotions and acts in this direction by means of a special set of special means of musical expressivity, which in many ways is equivalent to the actors’ palette. Specifically, the attributes of emotions functioning in music may be classified in two groups: the mimetic, in which the connections of the universal attributes of emotion are discernible, and the symbolic. The latter may be transmitted only by means of the musical equivalents of the attributes of emotions. For the comprehension of the means of the first group, the universal and generally artistic experience suffices for the listener. At the same time, possession of the means of the second group is achieved only by means of long-term specialized musical education. Thereby, the transmission of emotive information in music, is perceived as a most complex semantic system, demanding from musicians and
listeners a longstanding accumulation of musical experience.
Keywords: emotive information in music, attributes of emotions, musical equivalents of attributes of emotions.
Article Details
Copyright
The rights on the results of intellectual activity and equated means of individualization are protected in accordance with Part IV of the Civil Code of the Russian Federation. The authorship, author's name, executor’s name, inviolability of the work and result of execution are protected by the rules of Part IV of the Civil Code of the Russian Federation of the author or executor, regardless of providing legal protection of such results of intellectual activity at the time of their forming.
Copyright laws regulate the civil legal relations for using works of science, literature and art. Such relationships are formed as the result of the author’s writing his or her texts. In this case the author can rightfully claim copyright of the work.
The author has certain rights to reuse the work (see: “Ethical Aspects in Terms of Multifold Publications).
Licenses
All copyrights on the articles belong to their authors. The author transfers the rights on using the article the publisher.
PDF versions of scholarly articles of the journal PMN are published by using the license Attribution Non-Commercial No Derivatives cc by-nc-nd, allowing loading and distributing works on the assumption of indicating the authorship. The works may not be changed in any way or used for commercial interests.
Criteria for Authorship, Co-authorship
The term “author” refers to all persons (co-authors) who have made a substantial contribution to conducting the research and creation of the manuscript and responsible for its content. The person (author) who has submitted the manuscript to the editorial board shall bear responsibility for the complete list of the group of authors and the changes made to the manuscript in accordance with the results of the peer reviewing and editing.
1. Authorship is based on the following criteria:
1) The author made a substantial contribution to the research activity and development of concept, collected the data, made analysis and interpretation of the data.
2) The author carried out the writing of the text of draft articles and edited it attentively and substantially.
3) The author approved the final version of the article prior to its submission.
4) The author bears responsibility for the integrity of all parts of the manuscript.
2. The authors shall guarantee that the submitted manuscript is the original work.
3. Scholarly reviews for some issue or other should be objective, present material in a wide range and at the same time take into account the views of the author of the review.
4. The authorship of scholarly publications is obligated to reflect accurately the contribution of individuals to the research activity, with specific information about the authors.
5. The authors may not mislead the readers by publishing acknowledgements of gratitude to people who were not actually involved in writing the work. Other persons who made contribution to the work, but are nevertheless not the authors, may be listed in the rubric of “Acknowledgements,” with indications of the type and extent of their activities.
6. Authors are obligated to provide a description of their contribution to the publication.
7. The order of authorship must be a joint resolution of co-authors. The authors should be ready to explain the order of their enumeration and listing.
8. The authors shall be entirely responsible for the correct definition of authorship acting in accordance with the rules adopted in their institution.
9. Investigators must ensure that only those persons who meet the criteria for authorship (that made a significant contribution to the work), shall be considered the authors, and the researchers who do not merit authorship will be excluded from the list of authors.
References
2. Bonfel'd M. Sh. Muzykal'naya germenevtika i problema ponimaniya muziki [Musical Hermeneutics and the Issue of Musical Understanding]. Voprosy muzykoznaniya i muzykal'nogo obrazovaniya [The Questions of Musicology and Musical Education]. Issue 1. Vologda, 2000, pp. 31–41.
3. Devutskiy V. E. O trekh raznovidnostyakh khudozhestvennoy informatsii [Concerning Three Varieties of Artistic Information]. Muzykal'naya semiotika: perspektivy i puti razvitiya: sb. st. po materialam Mezhdunar. nauch. konf. 16–17 noyabrya 2006 goda. V 2 ch. Ch. 1 [Musical Semiotics: Prospects and Paths of Development: Collection of Articles on the Materials of the International Scholarly Conference on November 16–17, 2006. In 2 parts. Part 1]. Ed. by L. V. Savvina, V. O. Petrov. Astrakhan, 2006, pp. 19–24.
4. Devutskiy V. Theoriya muzykal'noy frazirovki: dis. … d-ra iskusstvovedeniya [The Theory of Musical Phrasing: Dissertation for the Degree of Doctor of Arts]. Moscow, 1998. 295 p.
5. Kazantseva L. P. Semantika tonal'nosti: voprosy metodologii issledovaniya [The Semantics of Tonality: Questions of Methodology]. Muzykal'noe soderzhanie: sovremennaya nauchnaya interpretatsiya: sb. nauch. st. [Musical Content: A Modern Scholarly Interpretation: Collection of Scholarly Articles]. Editorial board G. R. Taraeva, K. A. Zhabinsky; Rostov State S. V. Rachmaninoff Conservatory. Rostov-on-Don, 2006, pp. 117–135.
6. Kazaryan N. K. O madrigalakh Dzhezual'do [About the Madrigals of Gesualdo]. Iz istorii zarubezhnoy muzyki [From the History of Western European Music]. Comp. by R. K. Shirinyan. Issue 4. Moscow, 1980, pp. 28–54.
7. Kazaryan N. K. O printsipakh khromaticheskoy garmonii Dzhezual'do [About the Principals of Gesualdo’s Chromatic Harmony]. Istoriko-teoreticheskie voprosy zapadnoevropeiskoy muzyki (ot Vozrozhdeniya do romantizma): tr. GMPI im. Gnesinykh [Historical and Theoretical Issues of Western European Music (from the Renaissance to Romanticism): Research Works from the Gnesin’s Musical Pedagogical Institute]. Comp. by R. K. Shirinyan. Issue 40. Moscow, 1978, pp. 100–118.
8. Kudryashov A. Yu. Theoriya muzikal'nogo soderzhaniya. Khudozhestvennye idei evropeyskoy muzyki XVII– XX vv. [The Theory of Musical Content. Artistic Ideas in Western European Music from the 17th to the 20th Centuries]. St. Petersburg: Lan', 2010. 432 p.
9. Medushevskiy V. V. O zakonomernostyakh i sredstvakh khudozhestvennogo vozdeystviya muzyki [About the Regular Laws and Means of the Artistic Impact of Music]. Moscow: Muzyka, 1976. 254 p.
10. Turgenev I. S. Pesn' torzhestvuyushchey lyubvi [The Song of Triumphant Love]. Turgenev I. S. Pesn' torzhestvuyushchey lyubvi: sb. povestey [The Song of Triumphant Love: Collection of Stories]. Voronezh, 1980, pp. 363–383.
11. Kholopova V. N. Dva tipa musykal'nykh emotsiy: konkretno-tematicheskie i obshchedinamicheskie [Two Types of Musical Emotions: Concrete-Thematic and Regular-Dynamical]. Semantika muzykal'nogo yazyka: materialy nauch. konf. 29–31 marta 2005 goda [Semantics of the Musical Language: Materials of the Scholarly Conference, March 29–31, 2005]. Executive Editor I. S. Stogniy. Russian Gnesin’s Academy of Music]. Moscow, 2006, pp. 25–32.
12. Kholopova V. N. Muzykal'nye emotsii: ucheb. posobie dlya muz. vuzov i vuzov iskusstv [Musical Emotions: Textbook for Higher Educational Institutions in Music and the Arts]. Moscow: Mul'tiprint, 2010. 346 p.
13. Kholopova V. N. Teorii muzykal'nogo soderzhaniya, muzykal'noy germenevtiki, muzykal'noy semantiki: skhodstvo i razlichiya [The Theories of Musical Content, Musical Hermeneutics, Musical Semantics: Similarity and Differences]. Zhurnal Obshchestva teorii muzyki [Journal of the Society for Music Theory]. 2014. No. 1 (5), pp. 20–42. URL: http://journal-otmroo.ru/sites/journal-otmroo.ru/files/Kholopova%20V.N._2014_1_%285%29.pdf.
14. Shaymukhametova L. N. Migrating Intonational Formulae as the Phenomenon of Musical Thinking. Problemy muzykal'noj nauki/Music Scholarship. 2011. No. 2 (9), pp. 18–26. (In Russ.)
15. Shestakov V. P. Ot etosa k affektu. Istoriya muzikal'noy estetiki ot antichnosti do XVIII veka [From Ethos to Affect. The History of Musical Aesthetics from Antiquity to the 18th Century]. Moscow: Muzyka, 1975. 352 p.
16. Jameson F. The Ideology of the Text. Salmagundi. Vol. 31/32. 1975/1976, pp. 204–246.
17. Meyer M. F. That Whale Among the Fishes – Theory of Emotions. Psychological Review. 1933. Vol. 40, pp. 292–300.
18. Mounin G. Introduction а la simiologie. Paris: Minuit, 1970. 256 p.
19. Nattiez J. J. Musicologie generale et semiologie. Paris: Christian Bourgois, 1987. 144 p.
20. Powers H. S. Language Models and Musical Analysis. Ethnomusicology. 1980. Vol. 24. No. 1, pp. 1–60.
21. Shaymukhametova L. Bach and Newton: Artistic Parallels (About the Creative Content of the Urtext of the Inventions and Sinfonias). Problemy muzykal'noj nauki/Music Scholarship. 2016. No. 3 (24), pp. 15–20. DOI: 10.17674/1997-0854.2016.3.015-020.