Signs of Music: A Guide to Musical SemioticsWalter de Gruyter, 15 трав. 2012 р. - 232 стор. Music is said to be the most autonomous and least representative of all the arts. However, it reflects in many ways the realities around it and influences its social and cultural environments. Music is as much biology, gender, gesture - something intertextual, even transcendental. Musical signs can be studied throughout their history as well as musical semiotics with its own background. Composers from Chopin to Sibelius and authors from Nietzsche to Greimas and Barthes illustrate the avenues of this new discipline within semiotics and musicology. |
Зміст
| 3 | |
| 4 | |
| 9 | |
| 16 | |
Chapter 2 Signs in music history history of music semiotics | 27 |
22 Signs in music itself | 31 |
23 History of musical scholarship in the light of semiotics | 51 |
24 Main lines in the development of musical semiotics | 57 |
63 Analysis | 141 |
Social and musical practices | 155 |
Chapter 7 Voice and identity | 157 |
72 Text | 161 |
73 Transcendence | 162 |
74 Orality | 163 |
75 Singing as social identity | 164 |
76 National voice types | 167 |
On musical situations | 65 |
31 Situation as communication and signification | 73 |
32 Situation as act and event | 76 |
33 Situations as intertextuality | 82 |
34 Articulation of situations | 85 |
Gender biology and transcendence | 89 |
A biosemiotic approach | 91 |
42 Sibelius and the idea of the organic | 104 |
43 Organic narrativity | 112 |
On corporeal and gestural meanings in music | 117 |
Chapter 6 Body and transcendence in Chopin | 129 |
61 Are corporeal signs iconic? | 132 |
62 Are corporeal signs indexical? | 134 |
77 Gender | 169 |
78 Education | 171 |
79 Empirical methods | 174 |
710 Conclusion | 176 |
From Mastersingers to Bororo indians | 179 |
82 Improvisation as communication | 185 |
A peircean view | 189 |
A greimassian view | 194 |
Improvisation and existential semiotics | 196 |
Notes | 199 |
| 201 | |
| 219 | |
Інші видання - Показати все
Загальні терміни та фрази
according aesthetic analysis articulation Asafiev bars become Beethoven's bel canto biosemiotic body cadence Chopin chords classical codes communication concept context corporeal culture Dasein emotional enunciation Ernst Kurth event evokes example existential expression Fifth Symphony folk music function gender gestures Greimas Greimas's iconic idea ideology implied composer improvisation indexical inner instance interpretation intertextual intonation isotopy J. S. Bach kind Kurth language latter Mastersingers means melody minor modalities motive movement musical semiotics musical signs musical situation musicologist musicology narrative nature opera organic organic music organicism Peirce performance piano piece Prelude represents rhythms Richard Wagner Roland Barthes romantic Romanticism rules Sachs Schenker scherzo scholars semiosis semioticians sense Sibelius Sibelius's signified singer singing social Sonata song sound structure style Suyá symbolic Tarasti technique theme theory tion tonal tonic topics transcendental understand utterance vocal voice Wagner Walther