Tonality: the Semantic Aspect

Abstract

Present-day perceptions of semantic connotations of tonality rely for the most part on the metaphoricity of meanings, the reason of which is rightfully found in the mechanism of building associations. However, it would be too simple to explain such a complex and stable phenomenon only by means of a metaphorical transfer of meanings from the adjacent fields of activity to music. In this seemingly purely personal act there are a lot of rather objective, “universal” elements. Effectively, association as a semantic principle may be characterized not only by spontaneity and subjectivity of semantic connections but also by their rather consistent and objective character. Today we have right to speak about an ontological and natural (which is far from subjective) metaphoric character of tonality’s semantics. This type of semantics possesses quite objective grounds. A composer programs and sets a specific artistically indispensable metaphoricity. It is important to realize that the semantics of any tonality is undoubtedly adjusted by many factors. It depends on the context, so it presents a flexible notion – this also defines the objective rule of its existence. Keywords: tonality, semantics, metaphoricity, composer’s style, language/speech, intertextuality, archetype.