음악의 의미와 대상의 문제: 퍼스의 기호학적 접근
The Problem of Meaning and Object of Music : Approaches from the Peircean Semiotics
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음악은 때로 우리에게 말을 건넨다. 하지만 음악이 말할 수 있다고 주장하는 입장은 언제나 그것이 어떻게 가능한지에 관해 증명해야 하는 이론적 부담을 지고 있다. 음악은 대상을가지지 않거나 대상에 대한 지시가 불명확하기에 의미론적 내용이 없다는 형식주의자들의비판에 답해야 하기 때문이다. 이 글은 퍼스의 기호학을 통해 이러한 문제들에 대해 해명을시도한 코커와 커밍, 해튼의 이론을 살펴보고, 각각의 이론들이 어떤 한계와 시사점을 남기고 있는지를 검토한다. 그들의 이론은 많은 장점을 지니고 있음에도 불구하고 제기된 문제들을 충분히 설명하지는 못한다. 이 글은 음악의 의미가 음악 안의 구조나 특질의 문제라기보다 맥락과 습관의 문제이며, 세미오시스 안에서 계속해서 해석되는 역동적인 과정이자 목적론적 과정 그 자체임을 강조한다. 또한 퍼스의 시네키즘에 근거하여 청자의 해석작용은 단순히 사적이거나 자의적인 연상이 아니며 이미 공동체 안에서의 공통의 경험과 맥락을 반영한다고 제언한다.
Abstract
Music often seems to talk to us. However, theorists who suggest it always take up a heavy burden in that they ought to prove how it is capable of. They should answer questions regarding the lack of object or semantic content of music. This essay examines the question of whether this issue was explained in the studies of Wilson Coker, Naomi Cumming, and Robert S. Hatten who attempted to elucidate it by applying the Peircean Semiotics. While these theories have many advantages, the question this essay raise is not sufficiently answered. This essay suggests that musical meaning is not so much the question of the structure or the quality in the music, although it is still important factor, but of context and habits formed in a community. Musical meaning is the dynamic and teleological process itself, which is constantly interpreted in semiosis, but end-directed. Based on the concept of Synechism, this essay underlines that the interpretation of a listener is neither a private nor an arbitrary association, but an embodiment of communal experience and habits established in a community.
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