Music resembles vocabulary in the sense that it is a temporal sequence of articulated appears to be which are more than just sounds. They say a thing, often one thing human. The far better the new music, the much more forcefully they say it. The resemblance to terminology extends from the whole work, the organized linking of significant appears, proper down to the single audio, the observe as the threshold of merest presence, the pure vehicle of expression. The analogy goes past the organized connection of appears to be and extends materially to the structures. The standard principle of kind employs this kind of phrases as sentence, phrase, segment, approaches of punctuating – issue, exclamation and parenthesis. Subordinate phrases are ubiquitous, voices rise and fall, and all these terms of musical gesture are derived from speech. When Beethoven calls for one particular of the bagatelles in Opus 33 to be played ‘parlando’ he only helps make explicit one thing that is a universal characteristic of new music.
Their unchanging id has turn out to be sedimented like a 2nd nature. This is why consciousness finds it so challenging to bid farewell to tonality. But the new music rises up in rebellion against the illusion implicit in such a second nature. It dismisses as mechanical these congealed formulae and their function. Nonetheless, it does not dissociate itself fully from the analogy with vocabulary, but only from its reified version which degrades the distinct into a token, into the superannuated signifier of fossilized subjective meanings. Subjectivism and reification go together in the sphere of songs as elsewhere. But their correlation does not outline music’s similarity to vocabulary once and for all. In our day the romantic relationship in between new music and words has turn out to be essential.
The terminology of songs is rather diverse from the language of intentionality. It contains a theological dimension. What it has to say is simultaneously revealed and concealed. Its Idea is the divine Title which has been offered form. It is demythologized prayer, rid of efficacious magic. It is the human try, doomed as ever, to identify the Name, not to communicate meanings.
This factors to the question of interpretation. Interpretation is crucial to both music and terminology, but in distinct ways. To interpret language signifies: to understand words. To interpret new music signifies: to make songs. Musical interpretation is overall performance, which, as synthesis, retains the similarity to terminology, whilst obliterating every single specific resemblance. This is why the idea of interpretation is not an accidental attribute of songs, but an integral aspect of it. To play songs correctly indicates 1st and foremost to communicate its language properly.
This calls for imitation of alone, not a deciphering process. Music only discloses alone in mimetic practice, which admittedly might acquire location silently in the creativeness, on an analogy with quiet studying; it by no means yields to a scrutiny which would interpret it independently of fulfilment. If we have been to search for a comparable work in the languages of intention, it would have to be the act of transcribing a text, rather than decoding its that means.
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