BM, Kent State University, 2023, College of the Arts / School of Music, Hugh A. Glauser
In 1830, music critic, Ludwig Rellstab, described the opening movement of Beethoven's Op. 27, No. 2 as “a boat, visiting, by moonlight, the wild places of the Viervaldsee in Switzerland” (Waltz, 2007). Using figurative language to describe the perceptual experience of music is a phenomenon musicologists, critics, and pedagogues practice fluently. Yet, how can any music listener accurately interpret that a piece of music sounds like moonlight? And how can any linguistic description evoke sound without hearing it? Since the Baroque Era and the development of the Doctrine of Affectations, researchers have argued the affects music can induce on the audience, primarily based on a lens model approach. However, what is less clear is how we use figurative language to describe music outside of pure emotion. This three-part study explores the relationship between figurative language and musical expression in relation to the wider discussion of encoding and decoding acoustical cues.
In the first study, a corpus of 2,780 metaphors collected from 19th century music periodicals revealed that 19th century music critics used mostly personifying metaphors, followed by synesthetic metaphors and extended imagery, among numerous subcategories. The second study observed how words are acoustically defined by giving five words (cold, dark, lively, mournful, and tender) from the previous corpus study to instrumentalists to perform with five given excerpts. Results revealed significant acoustical effects of duration, articulation, and timbre (sans piano), but no significant effect of dynamics. Finally, the third study looked at whether participants could accurately perceive the intended musical expression. Results indicated that participants (mostly nonmusicians) were significantly able to interpret the intended expression, although individual features like instrument and excerpt affected ratings. These results carry cross-disciplinary and practical implications in music, psychology, and l (open full item for complete abstract)
Committee: Joshua Albrecht (Advisor); Wendy Matthews (Committee Member); Phillip Hamrick (Committee Member); Ed Dauterich (Committee Member)
Subjects: Language; Music; Psychology