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I would like to take issue on a small remark by Daniel Barenboim in the third Reith lecture. He relates to ambiguity, saying "in real life ambiguity may be described as a doubtful quality, somebody who is ambiguous, not knowing exactly what he or she wants, how to react etc. But in the world of sound, in this magical world of sound, ambiguity means that there are many many possibilities, many ways to go."
I would not agree with him. Ambiguity is rife in real-life, too, and it has nothing to do with not knowing what to do. Any linguist, and I am one of that breed, will tell you that almost everything that is said is ambiguous. It is the context that helps to disambiguate. The ambiguity found in music -- and I like the way Barenboim presents that topic -- is also found in language, unintentionally in everyday conversation, intentionally in literary texts, but it is different in nature. It is usually not the question of what is coming next, but the two or more meanings of what one has already said.
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ambiguity in real life and music
I would like to take issue on a small remark by Daniel Barenboim in the third Reith lecture. He relates to ambiguity, saying "in real life ambiguity may be described as a doubtful quality, somebody who is ambiguous, not knowing exactly what he or she wants, how to react etc. But in the world of sound, in this magical world of sound, ambiguity means that there are many many possibilities, many ways to go."
I would not agree with him. Ambiguity is rife in real-life, too, and it has nothing to do with not knowing what to do. Any linguist, and I am one of that breed, will tell you that almost everything that is said is ambiguous. It is the context that helps to disambiguate.
The ambiguity found in music -- and I like the way Barenboim presents that topic -- is also found in language, unintentionally in everyday conversation, intentionally in literary texts, but it is different in nature. It is usually not the question of what is coming next, but the two or more meanings of what one has already said.
Re: ambiguity in "real life" and in music
We are a bit behind here having just 'heard' (parts) of the 3rd lecture today (interupted by a visiting friend).- in relations to DB's statements I observed:
The provocation of 'ambiguity' is to exercise our mind. Musical 'mind-games' are a complex-ambiguity trying to represent more than is apparent in the simple sum-of-music's-notational-parts:
When we are confronted with any complex communication we are invited into indulging the dynamics of the 'subject' - factors resolving its ambiguous potentials include:
a) the tensions (and anxiety) associated with ambiguity may be a provocative teaser of reason and understanding...
b) the demand is for our concentration and intelligent engagement in the subject... including its ramifications...
c) we are provoked into an extrapolation on the theme... ... to perceive new horizons...
d) our imagination may be inspired in response to the clarity within of some phrases... ...it may be denied some potential messages by our in-experience...
e) our fantasy may be invoked by illusions akin to 'systenasia'...
f) for the musical communications to achieve a 'consensus' the composer/performer engages the listener and 'leads' them into a new understanding (perhaps of the transcendental kind) in which the inadequacy of words justifies the deployment of an 'ambiguous' device....
etc.
Warning - Un-tangling ambiguity is a vital skill, however, it is desirable that we are all sane when the communications-ambiguities come to a rest and can 'afford' another encounter to patronise the message-bearers.
AlanD (jumping through DB hoops and generally exercising his little-grey-cells)
Re: ambiguity in "real life" and in music
> I would like to take issue on a small remark by
> Daniel Barenboim in the third Reith lecture. He
> relates to ambiguity, saying "in real life ambiguity
> may be described as a doubtful quality, somebody who
> is ambiguous, not knowing exactly what he or she
> wants, how to react etc. But in the world of sound,
> in this magical world of sound, ambiguity means that
> there are many many possibilities, many ways to go."
> I would not agree with him. Ambiguity is rife in
> real-life, too, and it has nothing to do with not
> knowing what to do. Any linguist, and I am one of
> that breed, will tell you that almost everything that
> is said is ambiguous. It is the context that helps to
> disambiguate.
> The ambiguity found in music -- and I like the way
> Barenboim presents that topic -- is also found in
> language, unintentionally in everyday conversation,
> intentionally in literary texts, but it is different
> in nature. It is usually not the question of what is
> coming next, but the two or more meanings of what one
> has already said.
Daniel Barenboim is trying to tell us that music is a metaphor for life. His main themes theme is that both music and life have much in common.
Ambiguity is essential to life. The genetic process itself creates ambiguity (male/female/bisexual/homosexual). Music itself is ambiguous. When an individual listens, only he/she can interpret what is felt.
Music and plain language are poles apart. In plain language, we want to avoid ambiguity. In Shakespeare's work, the puns enrich the meaning, not befuddle them!
Re: ambiguity in "real life" and in music
If music (a language), and all of life, did not contain 'ambiguity' then we would be perfect creatures - that we invent, develop and deploy language (compose with words or music) to express or propagate our thoughts and aspirations is still a potentially meritable form of creativity represented within the limits of these imperfect (semi-ambiguous) tools.
All this just demonstrates that have yet to 'evolve' better 'tools' - in the meantime the tools we have can manifest beautifully (or dreadfully) - those that are dissatisfied with the imperfect-tools will invent the future - the future is thereby enabled by our dissolving of 'ambiguity' into the comprehension of deeper awareness and new horizons....
When we acquire/invent the perfect 'instrument' we will be able to play the illusive "Lost Chord" and those with perfect 'ears' will be able to hear it:-) - in the meantime there is are a lot of professional and dilettante noise-makers all trying and vying to demonstrate their semi-awareness of the illusive combination of 'notes'......
Re: ambiguity in "real life" and in music
music (a language), ?????????
Whatever music is, it isn't a language.
Re: ambiguity in "real life" and in music
> music (a language), ?????????
> Whatever music is, it isn't a language.
Basically, according to my comprehension, Music is the language of tone and rhythm - by deploying tone-production-techniques, the musician (composer) attempts to communicate thought/feeling/signals/etc. in the media of the aural senses (including sounds impacting semi-directly with the body).
I suspect that your disagreement with this 'definition' arises from the variability of comprehension and the 'ambiguity' apparently inherent in all languages.
This is a question of interpretation and comprehension and (as with all languages) requires (is dependant upon) training.
I hope these ideas help your acceptance of the 'musical-language' definition.
AlanD
Re: ambiguity in "real life" and in music
You still haven't adequately answered Akfarrar's question, "What does music communicate?" Languages transmit information. What information does music transmit? It's not enough to say music transmits "signals". What signals? What information?
Re: ambiguity in "real life" and in music
Goodness Tim, after 5 hours of DB's dissertation you challenge ME to answered Akfarrar's question, "What does music communicate?" Only in the relative anonymity of the WWW would I even 'indulge' in 'words' to reveal some clues to this - the mysterious 'secret' that fuels human creativity etc......
Music (and other art-forms) attempt to communicate the otherwise un-communicatable - the dilemmas of spoken language's inadequacies is hereby transcended by the creation of a new 'language', and/or a new medium for human expression and communication - only 'music' seems capable of 'telling' us things that 'music' can describe - I would not presume to tell you in 'written' words what that *is* for fear that my ambiguity would be perceived as a complete folly. However, it is observable that this 'ambiguity' moves from age-to-age as reflected in the diversity of our musical indulgences - perhaps the lifelong industry of great minds to resolve this 'ambiguity' is a search for enlightenment, for wisdom, for understanding, for 'truth'? Perhaps, in the end, it is just a curious self-indulgence facilitating the precociousness of affected egos?
Perhaps music is a 'truth-serum' - by indulging it, as composer-musician-listener, we are lead by the 'beauty' of sonic emanations, into realms of hidden reality that are otherwise hidden to us.
Beyond the entertainment and the psychological effects which music has upon humanity, the higher meaning of music's 'language' seems largely incomprehensible until we have reached a 'plateau-of-understanding' - perhaps this is when we begin to understand that the meaning-of-life is not "42"!
If you have read this far, let me challenge 'you' to better answer your own question and thereby we, perhaps DB included, may share in your revelations?
AlanD (slightly more than 42:-)
Re: ambiguity in "real life" and in music
Perhaps, I was asking a lot when I asked, "what does music communicate?" E.H.Gombrich had a go at a language theory for art in general in his essay Expression and Communication. The idea of music as a language sounds plausible, but I find the details of Gombrich's theory unconvincing. The problem with the idea of music as a language comes when you look at how this language of music could operate. We understand the workings of the English language, why should the supposed language of music remain a mystery?
Re: ambiguity in "real life" and in music
Hello Lawrence - concerning your:
> Perhaps, I was asking a lot when I asked, "what does music communicate?" <
IMHO (just in case it is not assumed:-):
Indeed this is a BIG ask given the limits of the written/spoken language - many famous musician have made wordy observations - many others have made succinct and/or poignant observation - I consider Plato among the best - here is a from a short treatise I wrote some years ago (about the 'worth' of music) in which I paraphrased Plato's definition:
If any pretence to ‘music’ fails to satisfy any one of Plato's 'classical' definitions then - perhaps it is just 'noise' or a sort of loosely controlled 'chaos'?
Audiologists tell us 'noise' can be highly destructive. Physicists tell us that 'chaos' is the 'natural' state of things and with the next breath that all matter is in a state of vibration / oscillation / motion. Philosophers and theologians tell us that 'chaos' is the state of matter 'untouched' by 'genius' or the 'divine'.
Plato's 'giving' tests:
1) Does it - give soul to the universe?
2) Does it - give wings to the mind?
3) Does it - give flight to the imagination?
4) Does it - give charm to sadness?
5) Does it - give gaiety and life to everything?
Fundamentally:
Is IT "the essence of order that leads to all that is good, just and beautiful"?
Finally:
Can we identify with "the invisible, but nevertheless dazzling, passionate and eternal form" which the music is describing/communicating?
NONE of those I have become familiar with seem complete explanations (including my own self-indulgent attempts) - BUT - we continue to 'use' the musical language to commune upon the premise that we find 'enjoyment' and/or 'stimulation' and/or some inspirational or revelationary or revolutionary value in it. By this 'continuity' we believe in its on-going patronage - the quest for a complete explanation may allude most but the 'effects' are readily identifiable by psychologists and neurologists and therapists etc.
For some of the 'elite' performing musicians it is quantifiable in 'money':-)
For the amateur musician and listener quantification is simply personal gratification and the need to understand is mute. Folks enjoy what they enjoy - EVEN - if it contains incomprehensible 'ambiguities'. In semi-ignorance the 'mystery' continues?
AlanD
Re: ambiguity in "real life" and in music
I disagree akfarrar. If an acoustic signal conveys information then it is, by definition, a language. Why do I know that Paul Weller comes from the South of England and Morissey comes from the North when I hear them sing? Why do the strings contained within Van Morrison’s ‘Coney Island’ provide so much additional information when I listen to the piece? The same must apply to classical pieces and it certainly applies to opera. Why does a baby gurgle/giggle and smile when you sing to it? The answer is, of course, because music conveys information! It is a language.
One of my fav. BBC songs as a kid was listening to the late George Dixon singing 'Hob Shoe Hob'. I don’t know if you’re familiar with the piece, but a picture of an anvil is conjured up within one’s imagination after the first few bars!!
Re: ambiguity in "real life" and in music
Conveys information ? What information? Define what music conveys please.
Music as communication I will accept, but as a language, certainly not.
Language requires words (or signs), music doesn't.
The idea of music as a language is one of the problems people face seem to be facing with these talks.
The parts of the brain used when generating/processing music differ (and overlap).
Certain societies don't even have a word for music in isolation - they require a complex of actions which includes dance - do you consider dance to be a language too?
Music is able to contain contradiction and ambiguity at the same time - the point of counterpoint. Whilst language is able to be ambiguous, it can't deal with that ambiguity the way music does.
Certainly the pop industry relies much more heavily on words than on language (which could be why DB is avoiding examples from it).
Re: ambiguity in "real life" and in music
Words are simply permutations of amplitude and frequency modulated acoustic waves confined to a bandwidth of about 2.5-3.0 KHz. ‘Music’ comprises a much broader bandwidth and with a much lower (in general) level of amplitude modulation. The frequency spectrum of the voice can be observed on a spectrum analyser as can, say, the audio spectrum of a violin or cello.
One doesn’t give a baby a copy of First Aid In English when teaching them to speak – they will attempt to mimic the sound. I’m not an expert on babies, but if you observe an early bonding exercise between a mother and baby then she might say: ‘good baby’. Now the baby will pick up on the visual signals because the mother will ,of course, smile at the baby as she says: ‘good baby’. However it will be the variations in pitch and amplitude comprising the word ‘good’ that will impart the information. There used to be a TV programme here in the UK many years ago called The Clangers. Did you ever watch it? The Clangers were extraterrestrial creatures who would communicate with each other via modulated (both frequency and amplitude) whistles. Now It’s quite an interesting exercise to speak to someone with a whistle and ask them to guess what you’re saying. I’ve actually done this (for example try whistling: ‘how are you’) and it’s surprising how often they come up with the correct answer.
If music isn’t a language, then why do musical instruments possess an emotional index? One associates a cello with sadness (1); the flute represents happiness. Low frequencies are always associated with sadness or disappointment – e.g the teacher who feels let down by their pupil: ‘Lawrence I’m soooo (the frequency of the voice drops) disappointed in your failure to appreciate classical music’.
Yes! I’ve often wondered, though, how mood is conveyed within sign language.
I’m two lectures behind at the moment, so I’d appreciate an example of this. If one detects ambiguity, then doesn’t it also have to be contradictory? Are you saying the ambiguity is actually contained within the composition? I’m not a musician and would probably struggle to pick up on this.
Finally if I can comment on Professor Kurzon’s initial posting. He states: ‘Any linguist, and I am one of that breed, will tell you that almost everything that is said is ambiguous’. I’m not a linguist, but am intrigued as to why Mr. Barenboim chose to use the word ‘beginning’ in his discourse title. Mr. Barenboim is discussing wave-like behaviour - sound - and the importance of change in nature, yet he’s chosen to employ a particle-like word - ‘beginning’ (which is spatial in nature) - in his discourse title. Definite ambiguity and contradiction there!
Notes
(1) An example here would be the introduction to the song She’s Leaving Home by the Beatles: ‘Wednesday morning at five o'clock as the day begins……’ (and then the cello comes in and you know there’s some very sad news on the way).
Re: ambiguity in "real life" and in music
Hello Lawrence - concerning your:
"Words are simply permutations of amplitude and frequency modulated acoustic waves confined to a bandwidth of about 2.5-3.0 KHz"
What is the bandwidth of the written word?
What is the bandwidth of the thinking word?
IMHO...
Words may be written and the only vibration is the noise of the keyboard etc. and the little grey-cells that 'compose' the word-arrangements.
I think (mostly) before I speak or write - hereby thought *pre-emanates* my writing, vocalising and my music making.
The pre-eminent factors may be part of the intent of un-spoken/written language, hereby, when we are in touch with the musical or intellectual thinking of an author/orator/composer/musician (and/or understand the physics/psychology/neurology/psyche) there develops a rapport which enables more efficient communication.
The inspirational or emotional or memorable or meaningful may be revealed from the otherwise ambiguous 'matter' - we may 'decode' and perceive intelligence and reason etc. by our familiarity with the 'language'.
Until we acquire 'skill' in observation and reasoning the information presented to us is gibberish.
To identify 'emotion' in musical composition/performance we must first have 'suffered' (observed or otherwise be familiar with the associated 'index' of emotional experience - only some exceptional musically-disabled folks can hear the sound (of music) and 'feel' the emotion but are otherwise completely unable to recognise any other pattern in music - their ONLY memory of music is its emotional effect!
AlanD
Re: ambiguity in "real life" and in music
Thank you for for the response Alan
Well I guess it would depend on the different colours – and thus different frequencies - that the written word comprised, but it would never be absolute. Deriving information from the written word isn’t something that I know a great deal about (in any scientific sense), but it’s clear that modulation performs an important part in this process (hand writing with a fountain pen in respect of character analysis and we do, of course, analyse character via the voice).
Well a neuroscientist or psychologist would be better qualified than I to answer this, but I don’t know (and doubt) if we actually think in the frequency domain.
I think you’re right here, but I’d like to know how this ‘familiarity’ somehow allows us to develop explicit rules in respect of ‘language’ (and make sense out of ambiguity) and this is - quite rightly – Tim L’s complaint in respect of defining music as a language with an ability to convey information.
Consider the case of the composers who writes film scores. Now they compose on the basis that reciprocity exists between composer and listener and if an individual were given ten film scores and had to hazard a guess as to the content of the films (without any prior knowledge), then I think they’d score quite highly. Take, for example, Percy Faith’s Theme From A Summer Place. The violins develop a picture in one’s mind of warmth and happiness. He’s right, but where did Mr. Faith get this notion from? What is the process by which these composers are able to translate from optical to aural (and vice-versa)?
Another example where it’s clear that the music tells the story is Bobby Gentry’s Ode To Billie Joe. Whenever I’ve discussed this song – even with complete strangers – they always comment on how sinister the strings sound and I couldn’t agree more. These are the most sinister strings I’ve ever heard in my life. You just know that this song is about a very disturbing incident. Why should this be? It certainly doesn’t satisfy your criterion – i.e. experience - defined in your last paragraph.
I find it hard to grasp how someone who is musically disabled can experience any emotional effect when they do hear music. You’re probably aware of this, but a significant proportion of CEO’s and company chairman don’t possess the slightest interest in music of any kind. Now this makes sense to me, because emotion isn’t allowed to enter into the life of a CEO. They’re ‘successful’ because they’re emotionless – which is probably why they have so many failed marriages.
Finally, I’d be interested to know why classical music fails to induce any emotional effect in most people. Does this mean that the majority of the population are musically disabled? Alternatively, are people who only enjoy classical music disabled in some way? I’ve never become close friends (either male or female) with anyone who enjoys classical music and I’ve always wondered why this is the case.
Re: ambiguity in "real life" and in music
Goodness Lawrence, your inquisition is intense - I'm sure there are authors (and internet resources) that deal with most of this - AND - I think we may be departing from the 'Subject" a little. I'll have to confine myself to the more 'comfortable' question that does not require me to write a book:-)
Ah,hem - IMHO;
Emotion - the Musical Index:-)
In humanity, it seems that emotional inertness is limited to 'savants' - all others are emotional enabled (with varying degrees of sensitivity) and just exercise focal-control to isolate their conscious environment when appropriate.
By training we can subdue/control emotion, however, the killing off of 'emotion' is disabling to our humanity - the atrophy of emotional sense would render us partially-senseless (we too much of this already).
Languages that 'appeal' to our emotional responses (poetry, music, literature etc.) allude to human attributes that are semi-atrophied (semi-dormant) in the attempt to 'provoke' or 'awaken' the semi-dormant sensitivities we have to the vibrational emanations of the universe/cosmos. The human reasoning-mind is only semi-conscious until the emotional and other related sensors are awake.
The 'rational' behind this important 'sense' lies in our inability to achieve due-diligence upon ALL the facts let alone comprehend everything that is required to achieve complete understanding.
Music is an inspirational device and/or a consoling device that 'treats' the imperfect human condition.
The lullaby consoles the child - the march incites the patriot.
Plato summed it up most profoundly, beautifully and succinctly:
1) Music - gives soul to the universe
2) Music - gives wings to the mind
3) Music - gives flight to the imagination
4) Music - gives charm to sadness
5) Music - gives gaiety and life to everything
6) Music - is the essence of order that leads to all that is good, just and beautiful
7) Music - is the invisible, but nevertheless dazzling, passionate and eternal form
As we recognise these properties in music its ambiguity dissolves and its purpose begins to be fulfilled?
AlanD (another imperfect human who 'enjoys' being consoled by music:-)
Re: ambiguity in "real life" and in music
"If music isn’t a language, then why do musical instruments possess an emotional index?"
'Instruments', like the cello, are tools and do not "possess an emotional index" - the 'emotional' attributes of musical playing are invoked by the *PLAYER* through his/her skill in manifesting 'melodic', 'harmonic', 'temperament' etc. all within the limits of the composition + instrument + acoustic etc. - AND - the communication/reception 'comprehension-skill' and mood etc. of the Listener.
The simplistic notion that music is simply a definable 'modulation-of-tone' limited to measurable acoustic properties discounts the effects and impositions of 'ambience' upon performer and listener. Herein lies the 'magic' of a great live performance which plays upon, and for the audience, invoking extra 'harmony' and 'modulations' that transcend simple acoustic capture let alone technical measurement.
Music is hereby, more than the sum of its 'measurable' parts. Musical ambiguity lies in our inability to 'measure' performance according to definitive method.
A 'muso-criticometer' has yet to be invented:-)
AlanD
Re: ambiguity in "real life" and in music
<'Instruments', like the cello, are tools and do not "possess an emotional index">
This is your opinion and not a matter of fact.
< - the 'emotional' attributes of musical playing are invoked by the *PLAYER* through his/her skill in manifesting 'melodic', 'harmonic', 'temperament' etc. all within the limits of the composition + instrument + acoustic etc. - AND - the communication/reception 'comprehension-skill' and mood etc. of the Listener.>
If someone played ‘Lark Ascending’ on a cello, then I doubt if it would have had an emotional impact on anyone, irrespective of how many different cellists played it. It’s a success because the violin conjures up a very accurate aural picture of the Skylark….and the Skylark tells us that summer is on the way.
Re: ambiguity in "real life" and in music
OK Lawrence, before I fall into another 'ambiguous-pit' of ignorance (or am tempted to defend my 'opinion' regarding the origins of 'emotion' in music) please define/explain your "emotional index" for my benefit (and others?).
Re: ambiguity in "real life" and in music
You might be interested in the work of Ian Cross from Cambridge (available on the internet). There is a good paper on 'Music and meaning, ambiguity and evolution.'
Words as 'noise' might be definable in terms of amplitude, etc - but words are readable and thinkable.
Baby learning is complex, and one strand of thought is that babies are pre-programmed in some way to pick up certain types of signal: Cross talks about this and points to other research. Musicality could well be linked to movement as much as sound - the copying of action developing the sense of rhythm and time for example. (Hence the comment on the Igbo (?) of Nigeria who don't separate out music from dance - there is no separate concept.)
"One associates a cello with sadness" Really? Not for me - I have other associations - and DB does point out that these associations can be very powerful but they are not in the music. These are cultural additions.
The point of ambiguity will come up in the lectures and DB does give a musical example. My point (not clear I must admit) was the at the same time. When I think of an ambiguous use of language I flip between meanings - only one at a time: In music, the counterpoint plays simultaneously and we are aware of both.
And a final point:
Mr. Barenboim is discussing wave-like behaviour - sound Again, not quite what I 'hear'. He is discussing what we do with sound in our brains - how we use some of that sound, identify it as different in nature from other sounds (like words) and (principally) our reactions to that sound we can call music.
Re: ambiguity in "real life" and in music
"Words as 'noise' might be definable in terms of amplitude, etc - but words are readable and thinkable."
As the phenomenon of 'systenasia' the interactive response of the 'mind' may conjure up a miscellany of 'effects'. As some others have already illustrated, in our spoken and written languages we deploy many 'devices' to imbue emphasis or other meanings to the simple word-definitions. A good dictionary illustrates many of the common-use 'properties' of words - BUT - only in contextual use and under good comprehension is deeper meaning more fully communicatable.
The difference between high-reality and low-reality usage/choices in words can be VERY significant - 'amplification' is only one component in this contextual modulation. The multiplicity of 'modulation-techniques' is what empowers all communication and, the spoken or sung word and orchestral music in particular depend largely upon the Fourier 'embellishment' of basic tone.
Pythagoras and Plato and many great musical-minds knew all this before Mr Fourier began describing it mathematically.
Like the parting of the 'mists-of-ignorance', by the achievement of consensus the 'ambiguity' begins to dissolve - we begin to 'feel' the subtle and the powerful properties of music... .... when the gist-of-music is 'readable' and 'thinkable' we achieve musicality!
AlanD
Re: ambiguity in "real life" and in music
Thanks, I'll follow this up.
Yes, words are 'readable' simply because one employs an optical transducer (the eye) to demodulate the electromagnetic signal that's fed into the brain.
Words are 'hearable' because one employs an acoustic transducer to demodulate the audio frequency that's fed into the brain.
The signal processing performed by the brain must be the same in both cases.
Sounds are thinkable - if you hear a car engine, don't you start to work out whether it's 4 cylinder, 6 cylinder, flat 4, straight 6, V6, V8, two stroke, 4 stroke......?
P.S. Hee-hee, I'm listening to the Friday evening R4 play at the moment - some lovely 'thinkable' sounds!!
Re: ambiguity in "real life" and in music
You don't need to be a linguist to know that "almost everything that is said is ambiguous. It is the context that helps to disambiguate." We all have had the experience of being misunderstood, and when we think about why we often realize that we have omitted an important part of the context. It's just common sense, really. Of course, we don't usually think about it that much.
Re: ambiguity in "real life" and in music
There is an interesting thread here: Ambiguity in music seems to be a part of our biological conditioning. There has been the suggestion that we learn to deal with ambiguity as an infant through developing musicality.
Ian Cross has written a couple of papers (available on the internet) which deal with this issue.
I think, to defend DB, we should see the doubtful quality - he doesn't say that ambiguity doesn't exist in the real world, he seems to imply that in music ambiguity is an 'undoubtful' (good?) quality.
The ambiguity of language is usually seen as a problem to communication rather than a benefit.
Having said that, when I heard the comment I was struck with how important ambiguity is to the works of Shakespeare - He has a very nasty habit of giving us several viewpoints in one play and then leaving us to decide!
Could Ambiguity really be an essential of art I wonder?