Language in Use 191-192
This unit is concerned with the problems that arise when we want to use language
to talk about certain kinds of experience which are essentially non-verbal. It
explores the language used in the discussion of art forms like music, painting,
sculpture and design and examines the special demands that this makes upon the
relationship between the writer and his audience. A collection of texts
will be needed for the particular art form selected. Suitable examples include,
for music, sleevenotes on gramophone records, excerpts from record reviews in
Melody Maker or The Gramophone, notes in concert programmes; and in other arts
columns in daily and Sunday newspapers.
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[1] In this session, the class should become acquainted with a particular
kind of writing about one of the arts. Circulate a selection of jazz, pop and
classical record-sleeve notes and reviews, for members of the class to make
notes on general features of the style for comment and discussion. The class
should look for all the ways in which the writer tries to give the reader an
awareness of what he is to hear. Points to consider include:
(a) use of metaphor and analogy
(b) reference to experience of other senses, such as sound described in terms
of touch, or visual patterns described in terms of sound
(c) how the writer indicates what a listener's response is likely to be.
[2] In this session, the focus should shift to an exploration of what
other means writers use to represent in words experience which is essentially
non-verbal. Points for study include:
(a) what references are made:
(i) to other music by the same group, band or composer
(ii) to other music of the same period
(iii) to other art forms and artists
(b) how much knowledge of the form does the writer assume in his reader?
(c) how much knowledge of the history of music does he assume?
(d) does he expect his reader to be able to follow an argument using the technical
language of musical description?
The object is to show that a writer is often driven to assume a great deal of prior experience of the art in his audience if he is to make any sense of the music in words.
[3] This session requires the presentation of a piece of music, chosen by the class. After hearing it, they should write a short piece suitable for a magazine or record sleeve. Ask the class to divide into three groups and have each group write for a different audience. Circulate the drafts and discuss how successfully the class has coped with the problems of finding a verbal equivalent for what it has heard.