음악의 이해에서 은유가 하는 역할
The Role of Metaphor in Understanding of Music
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이 글은 음악에 대한 청자의 이해에서 은유가 담당하는 역할이 과연 무엇인지를 고찰한다. 이를 위해 이 글은 음악과 은유에 관한 주목할 만한 논의들을 세 가지 입장으로 나누어 살펴보는데, 첫째는 은유를 음악과 음악의 표층적 속성 사이의 관계로서 파악하는 입장이고, 둘째는 은유를 순수하게 음악적인 사건들 사이의 관계로서 규정하는 입장이며, 마지막으로 셋째는 은유를 음악을 이해하는 근본적인 인식적 역량으로서 간주하는 입장이다. 이러한 고찰을 통해 청자의 음악적 경험에서 은유는 두 가지 상이한 역할을 담당하는 것으로 드러나는데, 하나는 굿먼과 카르부시츠키, 그리고 해튼의 은유가 그러하듯 음악의 표층적 특질을 듣게 해주는 것이며, 다른 하나는 트레이틀러와 뉴콤, 그리고 로빈슨의 은유처럼 악곡 전체에 대한 이해를 구조화 해주는 것이다. 이 중 이 글이 주목하는 것은 후자인데, 이 글은 특히 로빈슨의 논의를 ‘개념적 은유’의 빛 아래에서 집중적으로 조명하고 있다. 궁극적으로 이 글은 음악에서의 은유 논의가 ‘음악과 의미’라는 논제와 관련된 문제들에 대한 해결의 실마리를 제공하는 열쇠가 될 수 있다고 제안한다.
Abstract
This essay investigates the role of metaphor in listeners' understanding of music. For this purpose, this essay closely reviews the outstanding discussions on music and metaphor by classifying them into three categories: metaphor as relationship between music and its surface properties, metaphor as syntactical relationship among purely musical events, and metaphor as basic, cognitive capacity for our understanding. Through the examination, it is suggested that metaphor can be perceived to play two kinds of roles in listeners' musical experience: one is to enable listeners to hear the surface qualities of music as Nelson Goodman's, Vladimir Karbusicky's, and Robert S. Hatten's metaphor do, and the other is to structure the understanding of music as a whole as Leo Treitler's, Anthony Newcomb's, and Jenefer Robinson's metaphor do. This essay is concerned with the latter paying special attention to Robinson's discussion which is framed through conceptual metaphor. Ultimately, this essay claims that metaphor might be a key concept which casts a new light on the issue of music and meaning.
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