Vocalist.org archive


From:  Linda Fox <linda@f...>
Linda Fox <linda@f...>
Date:  Thu Oct 19, 2000  9:50 am
Subject:  Re: [vocalist-temporary] Re: opera and speech


RALUCOB@a... wrote:
RALUCOB@a... wrote:

> i think body language and music can communicate emotions but not ideas.

Sorry to be blunt about this, but that is 100% wrong. Just nod your head
- or shrug, or, better still, turn abruptly away - in reply to someone's
question and then deny you have conveyed emotion but not idea. And why
does the communication of emotion mean something is not language?

Army bugle calls? Ok, you may say they are so standardized that they
become extension of words...

One word - leitmotiv. And before you decide to exclude this as being
mere sound-painting of an idea which has already been suggested by other
means, consider that many composers even before Wagner (check out
Berlioz and Liszt) would take a theme which may or may not be understood
to be representative, and transform it in many different ways to give an
very different message.

If you listen to Berlioz' Symphonie Fantastique, after hearing the idee
fixe which represents the loved one more or less in its unchanged form
during the first four movements, appears in the final movement; after
hearing the dies irae sounded - again, a well-known "signal" - and then
played in diminution and then in very short note-lengths using an Eb
clarinet, which conveys insolence possibly surpassing anything that
words could say (the saxophone hadn't been invented then) the same
treatment is given to the idee fixe - grotesque.

As I said before, try to find Deryck Cooke's "The Language of Music".
It's a real eye-opener and deals with precisely what you claim doesn't
exist. And this is a well-respected and scholarly work, and not a
gimmicky money-maker such as you were describing when you discarded the
notion of Body Language.

BTW, I have been aware of body language for many years. And so has every
psychologist you're likely to meet.

> the problem with comparing sonata-allegro form to the hegelian dialectic
> is that in 99% of sonata-allegro movements, the tonic wins.

Why is that a problem? If you read a lot of pulp romances, you already
know who's going to end up together almost at the outset. Does that make
them not language?

Linda

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