ABSTRACT

The career of metaphor hypothesis advanced by Gentner et al, which describes differences in cognitive processing between metaphors encountered for the first time (novel metaphors) and metaphors encountered frequently (conventional metaphors), is applied to diverse relationships between instrumental music and the voice. A general account of musical metaphors hypothesizes that historical controversies over music’s capacity to communicate extramusical meaning are rooted in the problematic conceptual metaphor Meaning is Content and may be allayed by adopting an alternative, Meaning is Mapping. Historical practices of modelling instrumental performance and composition on the voice (e.g. cantabile, The Singing Style) are conceived as conventional metaphors and various contemporary approaches to voice-based instrumental and electroacoustic composition are conceived as novel metaphors. A brief survey of contemporary practices illustrates some of the ways recent music has exploited vocality with examples from recent repertoire, and points of comparison between conventional and novel approaches to vocality are summarized.

摘要

Gentner 等人提出的隐喻假设的职业生涯，描述了第一次遇到的隐喻（新隐喻）和经常遇到的隐喻（传统隐喻）之间认知处理的差异，应用于器乐和声音之间的不同关系。对音乐隐喻的一般说明假设，关于音乐传达音乐外意义的能力的历史争议植根于有问题的概念隐喻，意义是内容，可以通过采用另一种选择来缓和，意义就是意义. 对人声乐器演奏和作曲建模的历史实践（例如如歌、歌唱风格）被认为是传统的隐喻，而基于声音的乐器和电声作曲的各种当代方法被认为是新颖的隐喻。对当代实践的简要调查说明了近期音乐利用最近曲目的一些例子来利用声乐，并总结了传统和新颖的声乐方法之间的比较点。