"Where are the bizarre chords in the middle?" A search for the sound of imaginary music

Filipa Cruz
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Abstract

Disciplinary background A. Musicology has always relied on the notion of an epistemological gap between music and language. Even though New Musicology has attempted to rethink and underline the importance of different types of discourse about music (Kramer 2003), the topic of "music in literature" remains, with some exceptions, somewhat unexplored by musicologists. Disciplinary background B. In turn, Literature has fostered many different reflections about the importance of music in literature. These studies are intrinsically connected to the development of the field of Word and Music Studies, which has motivated the emergence of terminology such as ‘verbal music’ (Scher 1970), and the 'musical novel' (Petermann 2014). Abstract This paper seeks to contribute to the study of 'music in literature' and to analyse fictional 'verbal music' (Scher 1970) from a musicological perspective, by approaching the reader as co-creator and listener, thus aiming to understand how the verbal description of imaginary music in a novel can interact and alter the way we perceive, interpret and think about music. As a literary description of a piece of music that does not exist or cannot be identified, imaginary music presents itself as a kind of empty space, or a blank canvas, that fosters communication, participation and, consequently, the proliferation of meaning. I will focus on the novel Kafka on the Shore (2002) by Haruki Murakami and analyse the case of imaginary music included in the text, as well as different attempts to transpose this inaudible verbal description to the musical medium. On Youtube, there are seven different musical interpretations of the song "Kafka on the shore". Although they are all based on the lyrics presented in Murakami's novel, each song choses a particular language, instrumentation, melodic gestures and tempo, which, in turn, motivate different reactions from the users that have read Murakami's work. These intermedial transpositions and the debates that they stimulate allow us to better understand the importance of language
“中间那些奇怪的和弦在哪里?”寻找想象音乐的声音
学科背景音乐学一直依赖于音乐和语言之间认识论差距的概念。尽管新音乐学试图重新思考和强调关于音乐的不同类型话语的重要性(Kramer 2003),“文学中的音乐”的话题仍然存在,除了一些例外,音乐学家多少没有探索过。反过来,文学培养了许多关于音乐在文学中的重要性的不同思考。这些研究与文字和音乐研究领域的发展有着内在的联系,这推动了“言语音乐”(Scher 1970)和“音乐小说”(Petermann 2014)等术语的出现。本文试图从音乐学的角度对“文学中的音乐”的研究做出贡献,并通过将读者视为共同创作者和听众来分析虚构的“语言音乐”(Scher 1970),从而旨在理解小说中虚构音乐的语言描述如何相互作用并改变我们感知、解释和思考音乐的方式。作为对一段不存在或无法识别的音乐的文学描述,想象音乐将自己呈现为一种空白的空间,或空白的画布,促进交流,参与,从而促进意义的扩散。我将重点关注村上春树的小说《岸边的卡夫卡》(2002),并分析文本中包含的想象音乐的情况,以及将这种听不见的语言描述转换为音乐媒介的不同尝试。在Youtube上,有七种不同的音乐诠释“岸边的卡夫卡”这首歌。虽然它们都是基于村上小说中的歌词,但每首歌都选择了一种特定的语言、乐器、旋律手势和节奏,这反过来又会引起读过村上小说的用户的不同反应。这些中间的换位以及由此引发的争论让我们更好地理解语言的重要性
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