SPECIFICITY OF MUSICAL INFORMATION AND PROBLEMS OF VERBAL REPRESENTATION OF MUSICAL IMAGES THROUGH LANGUAGE

Abstract

This paper addresses the problem of musical representation of information by the means of language. It is found to be related to the description of impressions of a different nature than the object described itself - sensory impressions, emotional states, thoughts and manifestations of the will. A cause-and-effect relationship was noted between the viewer's image of the world, which is on the one hand always individual and unique and culturally and civilisationally common to members of one community, and the difference in the perception of acoustic sound waveforms, which undeniably has a bearing on the interpretation of musical waveforms. The author puts forward the thesis of the inadequacy of linguistic means, where we are dealing with a qualitatively different type of code (conceptual-verbal), while it is always a national language, and also with certain limitations due to the skills of the language user. The article discusses several types of discourse, noting that due to the different type of linguistic activity, there will be a different goal in each of them when implementing the process of verbalising musical information. Problems related to the typologisation and description of musical impressions are identified - there is a lack of unique means of expression, distinct vocabulary that can describe music as a phenomenon, which leads to tangential objects with music being described. Furthermore, there is a syncretic merging of the issues of sensory and emotional states in the description. The author of the study analysed the underlying musical terms, which do not speak directly of a physical sound phenomenon, but concepts from the information field of music as a type of art, as a cultural experience, and as a sphere of emotional-acoustic experiences. These objects (music as text, music as piece, music as art) fall into one cognitive space, but have a different ontological, semantic and pragmatic status. Narration and deliberation have been identified as the primary modes of verbal presentation of musical impressions, while demonstration has been identified as the most adequate way of depicting the musical sequence itself.