Las metáforas del tiempo en la música desde un punto de vista pragmático

Abstract

El presente artículo indaga sobre los efectos que operan en el oyente las diversas formas del tiempo musical. Si partimos de su ontogénesis, un primer momento puede hallarse en los juegos temporales de la primera infancia. Nos concentraremos en los efectos generados por la audición de diversas formas temporales en la música, que no remiten ni a un contenido “original” en términos de Donald Davidson, y que aquí identificaremos con la tesis del sonido por oposición al tono de Roger Scruton, ni a uno “extendido” o más profundo, identificado con desarrollos que ligan estas experiencias a ideas de tiempo, sino a asociaciones o esquemas comunes a toda la actividad humana. Para tal fin acudiremos a una teorización de la metáfora, su comparación con la analogía y, especialmente, a una postura dinámica de la misma que enfatice la importancia de los usos en una teoría del significado.

This paper inquiries into the effects of the diverse forms of musical time on the listener. Departing from its ontogenesis, we can find a first moment in the temporal games from early childhood. We will concentrate on the effects caused by the listening of diverse temporal forms in music, which refer neither to any content in its “original” sense –in Donald Davidson’s terms, linked here to Roger Scruton’s thesis on sound in opposition to tone– nor to any “extended” or more profound meaning identified with theories that link these experiences to ideas of time, but to associations or schema, common to all human activity. For this purpose, we will be aided by the theory of metaphor, its comparison to analogy, and specially, its dynamic position which emphasizes the importance of uses in a theory of meaning.

This paper inquiries into the effects of the diverse forms of musical time on the listener. Departing from its ontogenesis, we can find a first moment in the temporal games from early childhood. We will concentrate on the effects caused by the listening of diverse temporal forms in music, which refer neither to any content in its “original” sense –in Donald Davidson’s terms, linked here to Roger Scruton’s thesis on sound in opposition to tone– nor to any “extended” or more profound meaning identified with theories that link these experiences to ideas of time, but to associations or schema, common to all human activity. For this purpose, we will be aided by the theory of metaphor, its comparison to analogy, and specially, its dynamic position which emphasizes the importance of uses in a theory of meaning.