Problem Formulation Objective of The Study

between music and literature and the evocations of music in this scheme: Scher, 1970:151 MUSIC LITERATURE evocation of music absolute program vocal poetry or music music music prose non-literary literary program word musical structures verbal notes music and techniques music The scheme above shows that the evocations of music placed in the middle of music and literature. The evocations of music is the verbal imaginative recreation of musical experience as Scher states: In all literary evocations of music the poet supplements his ordinary source i.e., poetic imagination with direct musical experience andor a score, or allows his imagination to be inspired by music; he thus assumes the role of transmitter, rendering suggesting, de-scribing, or creating music in words. Scher, 1970: 152 Based on the system above absolute music, program music, vocal music is the pure manifestation of music, while poetry and prose are the pure manifestation of literature. Program notes is „professional music analysis,‟ Scher, 1970: 152 and therefore it does not include in the literary verbal evocations of music. As can be seen above, verbal music is placed in the literary verbal evocation of music. According to Scher, there are two basic types of verbal music, re- presentation and presentation verbal music: When the poet draws on direct musical experience andor a knowledge of the score as his source we may speak of re-presentation of music in words: he proceeds to describe either a piece of music which he himself identifies or which is identifiable through inference. . . . Poetic imagination alone, inspired by music in general, serves as the source of the second type of verbal music; and it involves direct presentation of fictitious music in words: the poet creates a verbal piece of music, to which no composition corresponds. Scher, 1970: 152-153 From that statement, there can be re-presentation and presentation verbal music in a work of literature. The re-presentational verbal music occurred when the author uses a description of existing musical composition. While presentational verbal music occurred when no existing musical composition is used, or in other words the author creates a „verbal piece of music‟. What makes verbal music different with other elements of literature, Scher stated that there is something called „retarding effect.‟ A definite retarding effect on the narrative movement in a given work emerges as a characteristic feature of prose passages of verbal music. In context the result of such retardation consists in the creation of a literally static moment which tends to arrest and suspend the narrative flow for the duration of the verbal evocation. This moment effects a temporary rest in the progressing, horizontal sequence of the narrated events. In fact, within the confines of the particular instance, the horizontal narrative sequence tends to slow down to a vertical standstill and assume spatial dimensions, suggesting a semblance of literary and musical space combined. Scher, 1970: 155 The retarding effects are a result of the expression of music in the medium of literature that creates an impression of slow-motion as the progressive event of