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MUSICALISATION OF METAPHOR AND METAPHORICALNESS IN MUSIC

MUSICALISATION OF METAPHOR AND METAPHORICALNESS IN MUSIC Danish Yearbook oj Philosophy, Vol. 31 (1996),125-136 MUSICALISATION OF METAPHOR AND METAPHORICALNESS IN MUSIC HROAR KLEMPE University of Trondheim In the opening phrase of the diverting little piece of music, Ein Musikalischer SpajJ (KV 522), Mozart ends up with an uneven amount of bars. The charming dance-like four bar theme is repeated, but not in its full length. The fourth bar is ambiguous. It simultaneously serves the function of conduding the first phrase and beginning the next one. From a musicological point of view, one may talk about a musical overlap'. From another perspective one might call it a kind of musical condensation. A metaphor is also characterised by condensation. Paul Ricoeur summarises a current notion of what a metaphor is supposed to be by saying: " ... to make a metaphor is to see two things in one ... "2. This notion goes back to Aristotle, who " ... in the Rhetoric introduces a parallel between metaphor and compari­ son"3. This definition, expressed in the formula A is B , is still a basic premise in the discussion of metaphors. 6. Ein musikalischer SpaB fur zwei Violinen°l, Viola, BaBO) und zwei Horner KV522 Daticrl Wicn, 14. JUDi 11&7 http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Danish Yearbook of Philosophy Brill

MUSICALISATION OF METAPHOR AND METAPHORICALNESS IN MUSIC

Danish Yearbook of Philosophy , Volume 31 (1): 11 – Aug 2, 1996

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Publisher
Brill
Copyright
Copyright © Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0070-2749
eISSN
2468-9300
DOI
10.1163/24689300_0310111
Publisher site
See Article on Publisher Site

Abstract

Danish Yearbook oj Philosophy, Vol. 31 (1996),125-136 MUSICALISATION OF METAPHOR AND METAPHORICALNESS IN MUSIC HROAR KLEMPE University of Trondheim In the opening phrase of the diverting little piece of music, Ein Musikalischer SpajJ (KV 522), Mozart ends up with an uneven amount of bars. The charming dance-like four bar theme is repeated, but not in its full length. The fourth bar is ambiguous. It simultaneously serves the function of conduding the first phrase and beginning the next one. From a musicological point of view, one may talk about a musical overlap'. From another perspective one might call it a kind of musical condensation. A metaphor is also characterised by condensation. Paul Ricoeur summarises a current notion of what a metaphor is supposed to be by saying: " ... to make a metaphor is to see two things in one ... "2. This notion goes back to Aristotle, who " ... in the Rhetoric introduces a parallel between metaphor and compari­ son"3. This definition, expressed in the formula A is B , is still a basic premise in the discussion of metaphors. 6. Ein musikalischer SpaB fur zwei Violinen°l, Viola, BaBO) und zwei Horner KV522 Daticrl Wicn, 14. JUDi 11&7

Journal

Danish Yearbook of PhilosophyBrill

Published: Aug 2, 1996

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