In Walsh’s essay, he analyses narrative abilities of music, where he says that music lacks intrinsic qualities of other narrative medium. It is felt in different ways by different people, and their experience can be technically driven or emotionally driven or by both. This is impossible, because as with all art, music cannot be experience in an exclusive way. Also in his argument, Hanslick kills the idea of diverse musical experiences by forming rigid technique driven rules of experiencing music, whereas people are no longer entitled to their unique musical experience, but to a single way of experiencing music. Like romantic poetry, music composition like this is an overflow of emotions, which is later structured and given a form. Music has a feel to itself it is not just about the technical aspects, but about how the technique can – if placed and used properly, by hitting the right notes in a piece – generate an emotion, not just in the listener, but first in its composer while he or she creates that piece the emotion becomes the idea or the feeling the composer wished to communicate. I disagree with him, because I believe it’s not true. Hanslick sides with Brahms, arguing that the notion is a misconception, and it is not possible to express emotions through music. The debate between the capabilities of music being that to express non musical ideas has raged between the partisans of Johannes Brahms and Richard Wagner since the nineteenth century. Which he describes as “The ingenious co-ordination of intrinsically pleasing sounds, their consonance and contrast” (Hanslick 13). In his essay On the Musically Beautiful, Hanslick – a known writer for his view on musical aesthetics and influential music critic for many Viennese newspapers – talks about music’s purpose being to share musical ideas. While I understand the need for yardsticks to measure things, I think it also frames our perception, and limits us in our exploration. In much of the argument for or against music’s capabilities to communicate emotion and tell stories, the argument focuses on what it lacks with regards to this medium or what it expresses similar to how this medium expresses. The problem with this is in regards to autonomous study, in exploring music on it’s own framework, and explore what it is capable of.
Instrumental music – which I will refer to as music for the rest of the essay – has been compared to prose narrative and drama this, in a way, is important, because it then causes the author to look for similarities and differences between the two. In my essay I explore the debates regarding emotion and narrative in Instrumental music, discuss the ways Instrumental music is used to to make narrative more effective or to express certain emotions, and by comparing the parameter of literature with Instrumental music, ponder whether it can be considered literature. It has great potential at setting tone, mood, and atmosphere in any mainstream medium of storytelling considered to be literature, like songs and movies. But Instrumental music is not just meaningless cold sounds rather, it carries emotions, which are communicated or invoked in a careful listener. Instrumental music was mostly praised only for it’s technical approach of creating a sound, and the complexity in the weaving of notes. It has been around since, playing a side role first of assisting the singer or narrator in songs, plays or movies etc.
But there is little development to instrumental music as a form, till the orchestra gained its popularity as a form of public and private entertainment in the 16th century. and instrumental ensembles of flutists and lyricists have been used in Greek plays like Aeschylus and Sophocles. Instruments have been in common use since several thousand years B.C. The music is primarily or exclusively produced by musical instruments ”. A Research on the relationship of Instrumental Music with Narrative and Emotion.Īccording to Wikipedia, Instrumental Music, or an Instrumental, is “ a musical composition or recording without lyrics, or singing, although it might include some inarticulate vocals, such as shouted backup vocals in a Big Band setting.
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