2.6. Metaphorical use of names of musical frets

the Major

1. The musical harmony, which sounds form a chord consisting of the big and small third (it is characterised vigorous, joyful the sound

Colouring; protivop.: a minor). 2. Razg. About vigorous, cheerful mood [BTS, 2000:513].

Let's consider examples metaforizatsii the given musical term.

Strict ceremony of Sunday breakfasts memorable since the childhood three together under a Sunday broadcast in a major; the Hungarian hens in the grocery order of times in a month; petty-bourgeois cleanliness of mother, ponavyshivavshej "birdies" in feet of blanket covers; mild family campaigns under the subscription on evenings of reader Dmitry Zhuravlyov

(S.Gandlevsky.//"Banner" (2011 № 14)).

In the given example metaphorical carrying over is carried out on the basis of motivating semy «cheerful, cheerful sounding».

Metaphorical model:

«Musical concept => abstract concept».

At the term "major" in modern Russian new metaphorical value - the nominal name of young men develops, whose life and the future basically their influential or high-ranking parents because of what it became easy and carefree have arranged, and they became it prozhigateljami.

At their roads and restrictions of speed a unique way to have a good time — to give on gases on a traffic light and strongly to puzzle any major from next Ferrari (Tuning on-... (2003)//"Hooligan", 2003.12.15).

In a basis — "major" C270 CDI Sportcoupe, on which correct Russian boy-major will not look at all

(Nikolay Suhov. Burden of changes: Mondial De L'Automobile 2002 (2002)//"Autopilot", 2002.11.15).

The waiter was late with giving of one portion of a cutlet, and ochkastyj the major with the complaint has called the headwaiter

(Andrey Rostovsky. Russian syndicate (2000)).

Motivating semy: «cheerful, cheerful».

Metaphorical model:

«Musical concept => the person».


1. The musical harmony, which sounds form a chord constructed on a small third (it is characterised by the sound colouring connected with moods of grief, griefs; protivop. A major). 2. About sad, sad mood [BTS, 2000:544].

Recently semantics of the musical term "minor" has considerably extended. Often in modern Russian we meet a steady combination: «in a minor». In music certain numbers of sounds which can create sad mood at the listener of a piece of music are called as "minor", therefore padezhno-prepositional combinations to a lexeme "minor" characterise a corresponding condition of grief, grief someone.

Let's consider following examples.

Then us have divided into man's and female schools, and we already only from afar watched senior pupils, which this division poverglo in a minor (Inna Prussakova. «I was born in Leningrad...»//"Star", 2003).

First it was inspired by change of scenery, but as melancholiac eternally rolling down in a minor, Dejneka has quickly turned sour

(Darya Simonov. The first. 2002).

Once again: do not become angry for a minor, I will be corrected and will be re-educated

(July Daniel. Letters from the conclusion (1966-1970)).

It has begun in a minor — with complaints to position of modern Italy crushed on the great past and prostituirujushchej of it on all torzhishchah where infinite crowds of the curious are flown down from everywhere

(B.K.Livshits. polutoraglazyj strelets (1933)).

I was in a minor, tired, I have read the text, and it has not reached me

(Metropolitan Antony (Blum). About propovednichestve (1970-1980)).

All was perceived now Fadeevym, by its recognition, in a minor

(Grigory Fuks. Two in a drum//"Star", 2003).

Motivating sema «sad, sad».

Metaphorical model:

«Musical concept => abstract concept».


1) In the given lexical set all lexemes entering into it (100 %) are subject to processes metaforizatsii.

2) Metaphorical carrying over is carried out on the basis of the following motivating this: "cheerful", "sad".

3) As a result of the analysis of processes metaforizatsii following models of metaphorical carrying over are revealed:

Musical concept => abstract concept (2)

Musical concept => the person (1)

4) It is revealed 2 neleksikografirovannye metaphors.

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More on topic 2.6. Metaphorical use of names of musical frets:

  1. 2.4. Metaphorical use of names of receptions of game on musical instruments and musical strokes
  2. 2.1. Metaphorical use of names of musical instruments and their components
  3. 2.2. Metaphorical use of names of musical forms
  4. 2.3. Metaphorical use of names of musical rates and dynamic shades
  5. 2.8. Metaphorical use of names of the persons connected with musical activity and a trade
  6. 2.9. Metaphorical use of names of the musical terms which are not forming lexical sets
  7. 2.5. Metaphorical use of names of accidentals
  8. 2.7. Metaphorical use of names of singing voices and their registers
  9. musical genres in lyric poet A.I.Tsvetaeva
  11. 2.1. Metaphorical carrying over
  12. musical symbolics in A.I.Tsvetaeva's poetry
  13. 2.2. Metaphorical comparison and an autometaphor
  14. Metaphorical and metonimichesky epithets
  15. activity of the emigrant out-of-school and educational organisations on familiarising of children with musical art
  16. 1.1. Concept and typology of is musical-poetic genre interaction
  17. 1. 2 concept «metaphorical model» in modern linguistic researches
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