Метафора и метонимия как составляющие музыкального восприятия (по материалам исследований второй половины XX–XXI века)

Abstract

The author examines the peculiarities of the perception of music of the second half of the 20th – 21st centuries from the standpoint of methodology defined by concept. The semantic multiplicity and indeterminacy of the newest music, creating a multimodal context and infinitely expanding the hermeneutic circle of composition, is investigated in the article from the perspective of theories connected with the comprehension of conceptual models. Among them the following theories are particularly noteworthy: G. Fauconnier and M. Turner’s theory of conceptual blending; J. Lakoff and M. Johnson’s studies of conceptual metaphors; the views of A. Ortony, who divides metaphor theories into deconstructive and constructive; and R. Scruton’s theoretical provisions. Studying the expressive and inexpressible content of music, the author analyses the theory of narrative from J. Robinson’s point of view and the connections between metaphor and music traced in N. Goodman’s work. The author lays special emphasis on the research of the theory of sound perception by H. Lachenmann, who defined music as a subjective “existential experience” in the formation of which the transformation of the auditory perception, which the composer refers to as “structural listening”, is of great importance. The author determines the principles of the development of the conceptual form in Lachenmann’s works, which emerges in a triadic process of composition creation, interpretation and perception. In this regard, the features and functions of metaphor and metonymy in Lachenmann’s music are identified and compared. As a result, the author comes to the conclusion about the necessity of flexible models of perception analysis of the compositions of the second half of the 20th – 21st centuries representing a new stage of the musical art.