Tarasti Signs of Music

A Guide to Musical Semiotics
Nachdruck 2012
ISBN: 978-3-11-089987-0
Verlag: De Gruyter
Format: PDF
Kopierschutz: Adobe DRM (»Systemvoraussetzungen)

E-Book, Englisch, Band 3, 232 Seiten, Format (B × H): 155 mm x 230 mm

Reihe: Approaches to Applied Semiotics [AAS]

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.

Autoren/Hrsg.

Tarasti, Eero

Fachgebiete

• Geisteswissenschaften Sprachwissenschaft Sprachwissenschaften Semiotik
• Geisteswissenschaften Musikwissenschaft Musikwissenschaft Allgemein Musiktheorie, Musikästhetik, Kompositionslehre
• Geisteswissenschaften Philosophie Semiotik
• Interdisziplinäres Wissenschaften Wissenschaften Interdisziplinär Semiotik

Inhaltsverzeichnis

1;Foreword;5
2;Part one: Music as sign;9
3;Chapter 1 Is music sign?;11
4;1.1 Introduction;11
5;1.2 Music as semiotic: A historical perspective;12
6;1.3 Peirce, Greimas, and music-semiotic analysis;17
7;1.4 Understanding / misunderstanding musical signs;24
8;Chapter 2 Signs in music history, history of music semiotics;35
9;2.1 Introduction;35
10;2.2 Signs in music itself;39
11;2.3 History of musical scholarship in the light of semiotics;59
12;2.4 Main lines in the development of musical semiotics;65
13;Chapter 3 Signs as acts and events: On musical situations;73
14;3.1 Situation as communication and signification;81
15;3.2 Situation as act and event;84
16;3.3 Situations as intertextuality;90
17;3.4 Articulation of situations;93
18;Part two: Gender, biology, and transcendence;97
19;Chapter 4 Metaphors of nature and organicism in music: A “biosemiotic” approach;99
20;4.1 On the musically organic;99
21;4.2 Sibelius and the idea of the “organic”;112
22;4.3 Organic narrativity;120
23;Chapter 5 The emancipation of the sign: On corporeal and gestural meanings in music;125
24;Chapter 6 Body and transcendence in Chopin;137
25;6.1 Are corporeal signs iconic?;140
26;6.2 Are corporeal signs indexical?;142
27;6.3 Analysis;149
28;Part three: Social and musical practices;163
29;Chapter 7 Voice and identity;165
30;7.1 Voice and signification;165
31;7.2 Text;169
32;7.3 Transcendence;170
33;7.4 Orality;171
34;7.5 Singing as social identity;172
35;7.6 National voice types;175
36;7.7 Gender;177
37;7.8 Education;179
38;7.9 Empirical methods;182
39;7.10 Conclusion;184
40;Chapter 8 On the semiosis of musical improvisation: From Mastersingers to Bororo indians;187
41;8.1 Musical improvisation and semiotics;187
42;8.2 Improvisation as communication;193
43;8.3 Improvisation as signification: A peircean view;197
44;8.4 Improvisation as signification: A greimassian view;202
45;8.5 Conclusion: Improvisation and existential semiotics;204
46;Notes;207
47;References;209
48;Name index;227

Über Autor(innen)

Tarasti, Eero
Eero Tarasti is Professor at the University of Helsinki, Finland.

Eero Tarasti is Professor at the University of Helsinki, Finland.