MUSIC AS LANGUAGE OF COMMUNICATION: THE SOUND OF MUSIC
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Introduction
This paper concentrates on the efficaciousness of music to the human psyche and its communicative inherence; it deliberates on its sonorous alluring effects in softening a heart that seems inflexible with its powerful suasions, as well as on its rhythmic harsh resonance in rebuffing an unacceptable behaviour in the society. Music as an art form, like every other arts, in spite of its particularity for organizing sounds, the supreme aim of music is to communicate to its audience, to project a musical discourse from a source (singer) to a recipient (listener). Aristotle postulated that music is one of the six elements of drama (tragedy) by saying that the “song-composition of the remaining parts is the greatest of the sensuous attraction” (93). Indeed the sensuousness of music has a strong pulling on listeners, and because it has consistently be part of the theatre.
The Sound of Music as a filmic medium, transported and adapted to the theatrical medium onto the stage bears numerous communication elements. Hence if this topic should be typified under any performative or theatrical genre, for the sake of nomenclature, considering the syncretisation of dramatic features and musical features, better say, hybridization of drama and theatre, it then stands asa case of musical theatre.
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