- 232 pages
- English
- PDF
- Available on iOS & Android
eBook - PDF
About this book
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.
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Please note we cannot support devices running on iOS 13 and Android 7 or earlier. Learn more about using the app.
Yes, you can access Signs of Music by Eero Tarasti in PDF and/or ePUB format, as well as other popular books in Languages & Linguistics & Linguistics. We have over one million books available in our catalogue for you to explore.
Information
Table of contents
- Foreword
- Part one: Music as sign
- Chapter 1 Is music sign?
- 1.1 Introduction
- 1.2 Music as semiotic: A historical perspective
- 1.3 Peirce, Greimas, and music-semiotic analysis
- 1.4 Understanding / misunderstanding musical signs
- Chapter 2 Signs in music history, history of music semiotics
- 2.1 Introduction
- 2.2 Signs in music itself
- 2.3 History of musical scholarship in the light of semiotics
- 2.4 Main lines in the development of musical semiotics
- Chapter 3 Signs as acts and events: On musical situations
- 3.1 Situation as communication and signification
- 3.2 Situation as act and event
- 3.3 Situations as intertextuality
- 3.4 Articulation of situations
- Part two: Gender, biology, and transcendence
- Chapter 4 Metaphors of nature and organicism in music: A “biosemiotic” approach
- 4.1 On the musically organic
- 4.2 Sibelius and the idea of the “organic”
- 4.3 Organic narrativity
- Chapter 5 The emancipation of the sign: On corporeal and gestural meanings in music
- Chapter 6 Body and transcendence in Chopin
- 6.1 Are corporeal signs iconic?
- 6.2 Are corporeal signs indexical?
- 6.3 Analysis
- Part three: Social and musical practices
- Chapter 7 Voice and identity
- 7.1 Voice and signification
- 7.2 Text
- 7.3 Transcendence
- 7.4 Orality
- 7.5 Singing as social identity
- 7.6 National voice types
- 7.7 Gender
- 7.8 Education
- 7.9 Empirical methods
- 7.10 Conclusion
- Chapter 8 On the semiosis of musical improvisation: From Mastersingers to Bororo indians
- 8.1 Musical improvisation and semiotics
- 8.2 Improvisation as communication
- 8.3 Improvisation as signification: A peircean view
- 8.4 Improvisation as signification: A greimassian view
- 8.5 Conclusion: Improvisation and existential semiotics
- Notes
- References
- Name index