Correspondence between setting and sound implies application of the same freely nuanced juxtapositions of imagery as those that appear in poetry.
T.S. Eliot conceived the objective correlative as a set of objects or events that objectify and evoke emotion through concrete sensory imagery. The connotations associated with such things as walls and windows, rivers and horizons, running and waiting, and the familiar archetypes may bring, in the context of an artistic work, moods and states of mind to bear on a reader or audience.
In terms of music, emotions are aroused by the full spectrum of audible sounds and their myriad combinations, though much of it is melodramatic and bombastic, or trivial. Nevertheless, as more is communicated at times by tone of voice than by words, so may expressively tinted music, unfettered by inflexible formula and form, reveal or elicit subtleties of heart and mind not always perceived directly.
T.S. Eliot conceived the objective correlative as a set of objects or events that objectify and evoke emotion through concrete sensory imagery. The connotations associated with such things as walls and windows, rivers and horizons, running and waiting, and the familiar archetypes may bring, in the context of an artistic work, moods and states of mind to bear on a reader or audience.
In terms of music, emotions are aroused by the full spectrum of audible sounds and their myriad combinations, though much of it is melodramatic and bombastic, or trivial. Nevertheless, as more is communicated at times by tone of voice than by words, so may expressively tinted music, unfettered by inflexible formula and form, reveal or elicit subtleties of heart and mind not always perceived directly.
