Biçimsel Bir Dil Olarak Müzikte Anlam

Abstract

Since the time that people began to theorize about music, it has been approached from opposite poles –either as an emotion or as a mathematical form. The same binary approach has also continued to influence the ideas that claim music as a language. In this context, music has been viewed as either a language of emotion or as a formal language. Music as the language of emotions offers a subjective analysis in terms of focusing on the emotions it arouses, rather than the music itself. Moreover, despite its focus on emotions, this subjective analysis claims that it provides a direct analysis to music. Although our study does not reject the power of music for evoking emotions, it opposes the claim that the bond between music and emotions is direct. By analyzing the elements of music, music as a formal language addresses a work on the piece. Music as a formal language is a work on the work itself. To illustrate this, we will show how music is approached as a formal language. In doing so, we will first discuss the structure of music and analyze how emotions take place in this structure. Then, we will explain the formality of the elements of music, pointing out what these elements are. After that, we will discuss the dilemmas of the expression of “music as an emotional language,” by addressing the problematic aspects of the emotion-language assumption. Then, we will focus on the distinction between formal languages and natural languages. From this point of view, we will explain how music, which we have positioned as a formal language, deserves this approach. Finally, we will point out the opportunities of the objective meaning provided by the approach that takes music as a formal language. We will discuss the objective sense drawing on Frege's theory of sense. Considering Frege's distinction between sense, reference and representation, and adopting the distinction between sense and representation in music is essential for understanding the sense of music. Frege distinguishes between the two with an emphasis on the objectivity of sense and the subjectivity of representation. We think that it is necessary to maintain this distinction made by Frege and adapt it to the music in order to capture the objective sense of the music. The objective sense approach would give us the opportunity to focus on the art of music itself. Therefore, providing an alternative approach to the question of how musical sense can be grasped, our study distinguishes itself from other theories that considers music as an instrument of emotion through objective sense.