Signs of Music (eBook)

A Guide to Musical Semiotics

Eero Tarasti (Autor)

eBook Download: PDF

2002 | 1., Reprint 2012
232 Seiten
De Gruyter (Verlag)
978-3-11-089987-0 (ISBN)

Infos

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. 

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

Autor

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

Inhalt

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

Rezensionen

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"'Signs of music: a guide to musical semiotics' von Eero Tarasti ist ein Buch, das sein Versprechen erfüllt. Es ist eine motivierende Lektüre, sowohl für diejenigen, die zum ersten Mal mit dieser neuen Disziplin in Berührung kommen, als auch für die in diese Materie bereits eingeweihten. Das faszinierende hervortretende Feld Musiksemiotik ist ein vielfältiger und komplexer Diskurs und Metadiskurs über Musik und Zeichen in Bezug auf Ästhetik, Geschichte, Komposition, Interpretation, Kommunikation, Praxis, usw. Eero Tarasti verbindet wissenschaftliche Genauigkeit mit Offenheit und bietet hier eine Grundlage für weitere Entwicklungen."
Paulo C. Chagas in: Forum Musikbibliothek, Kromsdorf/Weimar, 1/2003

Produkt-Details

• Erscheint lt. Verlag: 15.5.2012
• Reihe/Serie: Approaches to Applied Semiotics [AAS]
• Reihe/Serie: ISSN
• Zusatzinfo: 13 b/w ill.
• Verlagsort: Berlin/Boston
• Sprache: englisch
• Themenwelt: Kunst / Musik / Theater ► Musik ► Musiktheorie / Musiklehre
• Themenwelt: Geisteswissenschaften ► Philosophie
• Themenwelt: Geisteswissenschaften ► Sprach- / Literaturwissenschaft ► Sprachwissenschaft
• Schlagworte: musikalische Semiotik
• ISBN-10: 3-11-089987-6 / 3110899876
• ISBN-13: 978-3-11-089987-0 / 9783110899870