Antović Mihailo, Jovanović Vladimir Ž, Popović Mladen
Faculty of Philosophy and Center for Cognitive Sciences, University of Niš, Niš, Serbia.
Front Psychol. 2024 Nov 25;15:1497557. doi: 10.3389/fpsyg.2024.1497557. eCollection 2024.
This paper approaches the connection between musical constructs and visuo-haptic experience through the lens of the cognitive-linguistic notion of the "image schema." The proposal is that the subconscious inference of spatial and haptic schematic constructs in music, such as vertical movement, will motivate their equally common occurrence in the language about that music, irrespective of the fact that this language never describes the musical structure in a one-to-one fashion. We have looked for five schemas in the scores for the first ten piano sonatas by Ludwig van Beethoven and three famous analytical and pedagogical texts about them: force, indicating changes in musical dynamics and referential invocation of power-related terms in the books; path, identifying vertical movement in the music and suggestions of upward- or downward motion in the texts; link, suggesting the presence or absence of musical slurs and references to attachment or detachment in the language; balance, indicating the loss and regain of consonance in the harmony and invocation of lost and recovered stability in the verbal semantics; and containment, allocating the nonharmonic tones that "belong" to their resolving notes in the scores and referring to physical or metaphorical enclosed areas in the texts. Results of the corpus analysis suggest the following conclusions: musical schemas outnumber linguistic ones sevenfold; moderate schema strengths are typical of both language and music; predominant valences are shared by language and music in three schemas out of five; hierarchies of five schemas by strength differ, though the strongest schemas are mostly shared. Yet the central finding is that the correlations between each schema pair for music and language, by scalarity and valence, are total. This implies that (1) schemas operate as semantic building blocks irrespective of the external "symbolical form" in which they are realized and (2) scalarized image schema complexes perceived in one cognitive mode may motivate the emergence of a corresponding number of the same complexes in another.
本文通过“意象图式”这一认知语言学概念来探讨音乐结构与视觉触觉体验之间的联系。研究提出，音乐中空间和触觉图式结构（如垂直运动）的潜意识推断，将促使它们在关于该音乐的语言中同样频繁出现，尽管这种语言从未以一对一的方式描述音乐结构。我们在路德维希·范·贝多芬的前十首钢琴奏鸣曲乐谱以及三篇关于这些奏鸣曲的著名分析和教学文本中寻找了五种图式：力量，表明音乐力度的变化以及书中与权力相关术语的引用；路径，识别音乐中的垂直运动以及文本中向上或向下运动的暗示；连接，暗示音乐连线的有无以及语言中关于连接或分离的表述；平衡，表明和声中协和音的丧失与恢复以及言语语义中对失去和恢复的稳定性的引用；包容，在乐谱中分配“属于”其解决音符的非和声音，并在文本中提及物理或隐喻的封闭区域。语料库分析结果表明以下结论：音乐图式的数量是语言图式的七倍；适度的图式强度在语言和音乐中都很典型；在五种图式中有三种，语言和音乐共享主要的价态；五种图式按强度排列的层级不同，尽管最强的图式大多是共享的。然而，核心发现是，音乐和语言中每个图式对之间在标量和价态方面的相关性是完全的。这意味着：（1）图式作为语义构建块发挥作用，而不论它们所实现的外部“符号形式”如何；（2）在一种认知模式中感知到的标量化意象图式复合体可能会促使在另一种认知模式中出现相应数量的相同复合体。
