音楽における意味と形(大会報告)
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概要
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In "Emotion and Meaning in Music" L. B. Meyer defines the sign as something (A) which stands for another thing (B) objectively and its meaning as "embodied" when A is the same kind as B and as "designative" when it is not. Meanings upon this diadic relation are interpreted as "products of expectation" psychologically. But the "designative" aspect doesn't consist of a diadic relation, but of the triadic one because of the existence of "concept". This confusion results from the fact that the musical meaning is not conceptual and that from this reason it cannot identify the extra-musical event generally. Then what is the raison-d'etre of this non-designative reference? The key to this question is found in his insistence, though more contradictory, that a musical meaning consists of "hypothetical", "evident" and "determined" aspect. Contradictory because these do not accord with the definition of "designative" except the "hypothetical" one. The key because other two aspects have the reverse direction of reference, from perfect to imperfect and from present to past. But the key is lost in "Explaining Music", by the retrogression to one directional syntactic concept of "implication". The word "embodied" and its three aspects are, however, necessary for the definition of musical meanings. It can be made clear by the concept of "exemplification" defined as possession plus reference by N. Goodman. For he points out the fact that something which actualizes possession also refers to the referent which refers to the possessor and that this two directional reference has the directness or the "intrinsicalness" which cannot be possessed by the one directional designation. The reason why L. B. Meyer took out two points at the same time-the sameness of kind and three aspects of "embodied"-exists in this direct existentiality without reference to extra-musical existence.
- 美学会の論文
- 1976-12-30
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