Search results for 'Music Semiotics' (try it on Scholar)

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  1. Pop Music (2004). Music Critics and Aestheticians Are, on the Surface, Advocates and Guardians of Good Music. But What Exactly is “Good”. In Christopher Washburne & Maiken Derno (eds.), Bad Music: The Music We Love to Hate. Routledge 62.
     
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  2. Rock Critics Need Bad Music (2004). “I Like Bad Music.” That's My Usual Response to People Who Ask Me About My Musi. In Christopher Washburne & Maiken Derno (eds.), Bad Music: The Music We Love to Hate. Routledge
     
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  3.  5
    Eero Tarasti (2012). Semiotics of Classical Music: How Mozart, Brahms and Wagner Talk to Us. De Gruyter Mouton.
    Using new semiotic methods and analyses as the fulcrum of its approaches, the volume aims to clarify why great classical composers from Mozart and Beethoven to Brahms and Wagner fascinate music listeners and lovers from all cultures of the ...
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  4.  47
    Eero Tarasti (2002). Signs of Music: A Guide to Musical Semiotics. Mouton De Gruyter.
    Music is said to be the most autonomous and least representative of all the arts.
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  5. Gayle A. Henrotte (1992). Music Semiotics and Literary-Theory, the Influence of Iser on the Analysis of Opera. Semiotica 89 (1-3):247-256.
     
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  6. Raymond Monelle (1992). Linguistics and Semiotics in Music. Monograph Collection (Matt - Pseudo).
     
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  7.  4
    Viatscheslav Medushevsky (1995). Musical Intonation-Language of Intuition and Logic: A Contribution to the System of the Semiotics of Intonation in Music. In Eero Tarasti (ed.), Musical Signification: Essays in the Semiotic Theory and Analysis of Music. Mouton de Gruyter 121--189.
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  8.  3
    Rosario Mirigliano (1995). The Sign and Music: A Reflection on the Theoretical Bases of Musical Semiotics. In Eero Tarasti (ed.), Musical Signification: Essays in the Semiotic Theory and Analysis of Music. Mouton de Gruyter 121--43.
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  9. Michael Saffle (2006). Music and Tv. Style and Ascription in American Television Police Drama Theme Music / Ronald Rodman ; Saving the Earth with a Dominant Chord and Some Delay : Cartoon Music Themes in Italian Tv / Dario Martinelli ; Toward a Semiotics of Music Appreciation as Ownership : Bernstein's Young People's Concerts and "Educational" Music Television. In Erkki Pekkilä, David Neumeyer & Richard Littlefield (eds.), Music, Meaning and Media. University of Helsinki
     
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  10.  14
    Philip Tagg (1987). Musicology and the Semiotics of Popular Music. Semiotica 66 (1/3):279-298.
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  11.  3
    Fredrick Ogenga (2014). Visual Semiotics and the National Flag: A Kenyan Perspective of Anglo-America's Globe-Cultural Domination Through Mainstream Music Videos. Semiotica 2014 (202).
    Name der Zeitschrift: Semiotica Jahrgang: 2014 Heft: 202 Seiten: 533-553.
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  12.  4
    David Machin (2013). Towards a Social Semiotics of Rhythm in Popular Music. Semiotica 2013 (197):119-140.
    Name der Zeitschrift: Semiotica - Journal of the International Association for Semiotic Studies / Revue de l'Association Internationale de Sémiotique Jahrgang: 2013 Heft: 197 Seiten: 119-140.
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  13. Eero Tarasti (1987). Semiotics of Music. Semiotica 66 (1-3):1-330.
     
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  14. Rossana Dalmonte (1987). The Concept of Expansion in Theories Concerning the Relationships Between Music and Poetry in Semiotics of Music. Semiotica 66 (1-3):111-128.
     
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  15. F. Escal (1987). Roland Barthes: Fragments d'Un Discours Sur la Musique in Semiotics of Music. Semiotica 66 (1-3):57-68.
     
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  16. E. Tarasti (1987). Special Issue on Semiotics of Music. Semiotica 66 (1-3).
     
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  17.  39
    Eero Tarasti (1979). Myth and Music: A Semiotic Approach to the Aesthetics of Myth in Music, Especially That of Wagner, Sibelius and Stravinsky. Mouton.
    PART ONE 1. Introduction The purpose of this investigation is to explore the relations between myth and music. Although this research may be said to have a ...
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  18.  17
    Eero Tarasti, Paul Forsell & Richard Littlefield (eds.) (1996). Musical Semiotics in Growth. International Semiotics Institute.
    (by a semiotician) EERO TARASTI A semiotic interpretation of the two last centuries in the history of Western art music is in many respects a challenging ...
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  19.  28
    Michael Leslie Klein (2005). Intertextuality in Western Art Music. Indiana University Press.
    Eco, Chopin, and the limits of intertextuality -- The appeal to structure -- On codes, topics, and leaps of interpretation -- Bloom, Freud, and Riffaterre : influence and intertext as signs of the uncanny -- Narrative and intertext : the logic of suffering in Lutosawski's Symphony no. 4.
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  20. Erkki Pekkilä, David Neumeyer & Richard Littlefield (eds.) (2006). Music, Meaning and Media. University of Helsinki.
     
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  21.  30
    Eero Tarasti (ed.) (1995). Musical Signification: Essays in the Semiotic Theory and Analysis of Music. Mouton De Gruyter.
    Method and system Francois- Bernard Mdche I want to raise the issue of the possible significance of the use of digital machines for a composer whose work is ...
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  22. Eero Tarasti, Paul Forsell & Richard Littlefield (eds.) (2003). Musical Semiotics Revisited. International Semiotics Institute.
     
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  23.  17
    Jean Jacques Nattiez (2004). The Battle of Chronos and Orpheus: Essays in Applied Musical Semiology. Oxford University Press.
    In this collection of previously unpublished essays Jean-Jacques Nattiez applies his theoretical foundations of musical semiotics to theorists such as Levi-Strauss, Hanslick, and Brailoiu; novelists such as Proust; and poets such as Baudelaire. The author treats problems which musicologists and music lovers alike need to address: the artistic product in music of oral tradition, the nature of musical facts, and questions of fidelity and authenticity in performance practice. Nattiez tackles these perennial issues with an originality born out (...)
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  24. Ed White (2012). How to Read Barthes' Image-Music-Text. Pluto Press.
     
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  25.  14
    Mark Reybrouck (2011). Music Cognition as a Window to the World. Semiotics:55-62.
    Worldviews are windows to the world. They can be static in referring to visual connotations as suggested by their name, but they can hold a dynamic and genetic view as well. As such, they imply a fundamental cognitive orientation, involving selection, interpretation and interaction with the world. What matters, in this view, is a kind of sense-making or semiotization of the world. -/- The semiotization of the “sonic world”, accordingly, can be approached from different epistemological positions: is music reducible (...)
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  26.  17
    Mark Reybrouck (2001). Biological Roots of Musical Epistemology: Functional Cycles, Umwelt, and Enactive Listening. Semiotica 2001 (134):599-633.
    This article argues for an epistemology of music, stating that dealing with music can be considered as a process of knowledge acquisition. What really matters is not the representation of an ontological musical reality, but the generation of music knowledge as a tool for adaptation to the sonic world. Three major positions are brought together: the epistemological claims of Jean Piaget, the biological methodology of Jakob von Uexküll, and the constructivistic conceptions of Ernst von Glasersfeld, each ingstress (...)
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  27.  44
    Gianmario Borio (2009). The Crisis of Musical Aesthetics in the 21st Century. Topoi 28 (2):109-117.
    This essay is an attempt to understand the reasons for the current crisis of musical aesthetics. It examines the function of this discipline as the mediator between philosophy and musicology, it inquires into its connections with the ideals of autonomy, beauty and free subjectivity. During the 20th Century, major changes in society and their communication forms happened; anthropology and semiotics began to compete with aesthetics in explaining musical facts. The last paragraphs test the chances of resistance of musical aesthetics (...)
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  28.  16
    M. J. Grant (2001). Serial Music, Serial Aesthetics: Compositional Theory in Post-War Europe. Cambridge University Press.
    Serial music was one of the most important aesthetic movements to emerge in post-war Europe, but its uncompromising music and modernist aesthetic has often been misunderstood. This book focuses on the controversial journal die Reihe, whose major contributors included Stockhausen, Eimert, Pousseur, Dieter Schnebel and G. M. Koenig, and discusses it in connection with many lesser-known sources in German musicology. It traces serialism's debt to the theories of Klee and Mondrian, and its relationship to developments in concrete art, (...)
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  29. Roger North (2006). Roger North's the Musicall Grammarian: 1728. Cambridge University Press.
    Roger North's The Musicall Grammarian 1728 is a treatise on musical eloquence in all its branches. Of its five parts, I and II, on the orthoepy, orthography and syntax of music, constitute a grammar; III and IV, on the arts of invention and communication, form a rhetoric; and V, on etymology, consists of a history. Two substantial chapters of commentary introduce the text, which is edited here for the first time in its entirety: Jamie Kassler places his treatise within (...)
     
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  30. Catherine Legg (2002). Review of Naomi Cumming, "The Sonic Self: Musical Subjectivity and Signification". [REVIEW] Recherches Semiotiques / Semiotic Inquiry 22 (1-2-3):315-327.
  31. Byron Almén (2008). A Theory of Musical Narrative. Indiana University Press.
    A theory of musical narrative. An introduction to narrative analysis : Chopin's prelude in G major, op. 28, no. 3 ; Perspectives and critiques ; A theory of musical narrative : conceptual considerations ; A theory of musical narrative : analytical considerations ; Narrative and topic -- Archetypal narratives and phases. Romance narratives and Micznik's degrees of narrativity ; Tragic narratives : an extended analysis of Schubert, piano sonata in B flat major, D. 960, first movement ; Ironic narratives : (...)
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  32.  4
    Nicolas Darbon (2007). Musica Multiplex: Dialogique du Simple Et du Complexe En Musique Contemporaine. Harmattan.
    La seconde moitié du XXe musical a jeté les défenseurs de la Simplicité à l'assaut des combattants de la Complexité.
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  33. Drina Hočevar (2003). Movement and Poetic Rhythm: Uncovering the Musical Signification of Poetic Discourse Via the Temporal Dimension of the Sign. International Semiotics Institute, Semiotic Society of Finland.
     
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  34. Anna-Lena Kempe (2010). Design För Lärande I Musik. Norstedts.
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  35.  87
    Jessica Green (2010). Understanding the Score: Film Music Communicating to and Influencing the Audience. Journal of Aesthetic Education 44 (4):81-94.
    When most people sit down to watch a film, their focus usually stays on the very dynamic images that move onscreen. The dialogue, as a form of diegetic sound, is probably the next piece of the film they concentrate on, but this only imitates actual experience, since most people understand communication by both watching and listening. Christian Metz, in his influential text Film Language: A Semiotics of the Cinema, describes film as “Born of the fusion of several pre-existing forms (...)
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  36.  4
    Ken Berthel (2016). How Did Zhong Ziqi Understand Bo Ya’s Heart-Mind?: Hetero-Referential Aspects of Early Chinese Music Theory. Philosophy East and West 66 (1):259-270.
    Words are signs that refer to particular things. … The meaning of a tone, however, lies not in what it points to but in the pointing itself; more precisely, in the different way, in the individual gesture, with which each tone points toward the same place.The five tones deafen our ears.In comparing the semiotics of language and music, Western music theorist Victor Zuckerkandl identified what he saw as a fundamental difference: words had the hetero-referential capability of pointing (...)
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  37.  49
    Eero Tarasti (1992). A Narrative Grammar of Chopin's G Minor Ballade. Minds and Machines 2 (4):401-426.
    A new semiotic model for the generation of musical texts is introduced in this article. The idea of a generative grammar is here understood in the sense of the generative trajectory, a model elaborated by A. J. Greimas. Four levels are chosen from his trajectory for the study of musical texts, namely, those of isotopies, spatial, temporal and actorial categories, modalities and semes or figures.As an illustration, the G minor Ballade by Fr. Chopin has been examined through all these levels. (...)
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  38.  10
    Renata Lemos-Morais (2010). Money as Media: Gilson Schwartz on the Semiotics of Digital Currency. Continent 1 (1):22-25.
    continent. 1.1 (2011): 22-25. The Author gratefully acknowledges the financial support of CAPES (Coordenação de Aperfeiçoamento do Ensino Superior), Brazil. From the multifarious subdivisions of semiotics, be they naturalistic or culturalistic, the realm of semiotics of value is a ?eld that is getting more and more attention these days. Our entire political and economic systems are based upon structures of symbolic representation that many times seem not only to embody monetary value but also to determine it. The connection (...)
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  39.  3
    Stefano Jacoviello (2011). Nusrat Fateh Ali Khan: The Strange Destiny of a Singing Mystic. When Music Travels.. Semiotica 2011 (183):319-341.
    Nusrat Fateh Ali Khan was a foremost singer of qawwâlî. This Muslim devotional music, which is prominent in South Asia, has been developed since the fourteenth century by the Sufi circles of the Chishti brotherhood in order to preach and communicate the teachings of the saints. Inspired by mystic spirituality, Nusrat's music travelled through the East and the West, absorbing some of the features of the musical cultures with which it came in contact. It also travelled through time, (...)
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  40. Frank Foulks (1991). A Phenomenalist Semantic Frame for the Semiotics of Contrapuntal Theory. Dissertation, Indiana University
    In the early twentieth century Arnold Schoenberg introduced into music an atonal style of polyphonic composition. The artistic success of his and his colleagues' oeuvre insured the wide diffusion of his technique of the twelve tone series. In the period immediately following World War II, the serial technique exercised a dominant influence over advanced musical practice. However, in the decades that followed, composers and theorists alike began to entertain doubts about the relation between the derivation of a composition from (...)
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  41.  13
    Ian W. Gerg (2014). Observing and Gazing Gestures in Music. Semiotics:501-510.
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  42.  20
    William Pencak (1987). Of What is Music a Sign. Semiotics:362-374.
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  43.  18
    José Luis Caivano (1989). Coincidences in the Syntactics of Diverse Systems of Signs Used in Architecture, Visual Arts, and Music. Semiotics:175-184.
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  44.  29
    Robert S. Hatten (2008). The Place of Intertextuality in Music Studies. American Journal of Semiotics 3 (4):69-82.
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  45.  24
    Kristie A. Foell (1985). "Towards a Semiotic Understanding of Music". Semiotics:649-658.
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  46.  13
    David Lidov (1987). Mimesis in Music. Semiotics:353-361.
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  47.  13
    Gayle A. Henrotte (1988). Hjelmslev's Glossematics and Music. Semiotics:66-73.
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  48.  25
    Kofi Agawu (2008). Music Analysis Versus Musical Hermeneutics. American Journal of Semiotics 13 (1/4):9-24.
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  49.  9
    Robert Cantrick (1980). The Reference Relation in Music. Semiotics:75-87.
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  50.  9
    Gayle A. Henrotte (1987). Discourse and Music. Semiotics:345-352.
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