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

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  1. 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.score: 150.0
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  2. 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.score: 150.0
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  3. Eero Tarasti (2002). Signs of Music: A Guide to Musical Semiotics. Mouton De Gruyter.score: 144.0
    Music is said to be the most autonomous and least representative of all the arts.
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  4. Eero Tarasti (2012). Semiotics of Classical Music: How Mozart, Brahms and Wagner Talk to Us. De Gruyter Mouton.score: 144.0
    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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  5. Eero Tarasti, Paul Forsell & Richard Littlefield (eds.) (1996). Musical Semiotics in Growth. International Semiotics Institute.score: 114.0
    (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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  6. Eero Tarasti (1979). Myth and Music: A Semiotic Approach to the Aesthetics of Myth in Music, Especially That of Wagner, Sibelius and Stravinsky. Mouton.score: 102.0
    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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  7. Eero Tarasti, Paul Forsell & Richard Littlefield (eds.) (2003). Musical Semiotics Revisited. International Semiotics Institute.score: 102.0
     
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  8. Eero Tarasti (ed.) (1995). Musical Signification: Essays in the Semiotic Theory and Analysis of Music. Mouton De Gruyter.score: 96.0
    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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  9. Jean Jacques Nattiez (2004). The Battle of Chronos and Orpheus: Essays in Applied Musical Semiology. Oxford University Press.score: 92.0
    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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  10. 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.score: 90.0
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  11. Gayle A. Henrotte (1992). Music Semiotics and Literary-Theory, the Influence of Iser on the Analysis of Opera. Semiotica 89 (1-3):247-256.score: 90.0
     
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  12. 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.score: 84.0
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  13. Gianmario Borio (2009). The Crisis of Musical Aesthetics in the 21st Century. Topoi 28 (2):109-117.score: 78.0
    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 (...)
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  14. Michael Leslie Klein (2005). Intertextuality in Western Art Music. Indiana University Press.score: 78.0
    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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  15. Erkki Pekkilä, David Neumeyer & Richard Littlefield (eds.) (2006). Music, Meaning and Media. University of Helsinki.score: 78.0
     
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  16. 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.score: 78.0
     
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  17. David Machin (2013). Towards a Social Semiotics of Rhythm in Popular Music. Semiotica 2013 (197):119-140.score: 74.0
    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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  18. Philip Tagg (1987). Musicology and the Semiotics of Popular Music. Semiotica 66 (1/3):279-298.score: 72.0
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  19. 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.score: 72.0
     
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  20. F. Escal (1987). Roland Barthes: Fragments d'Un Discours Sur la Musique in Semiotics of Music. Semiotica 66 (1-3):57-68.score: 72.0
     
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  21. E. Tarasti (1987). Special Issue on Semiotics of Music. Semiotica 66 (1-3).score: 72.0
     
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  22. Eero Tarasti (1987). Semiotics of Music. Semiotica 66 (1-3):1-330.score: 72.0
     
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  23. Catherine Legg (2002). Review of Naomi Cumming, "The Sonic Self: Musical Subjectivity and Signification&Quot;. [REVIEW] Recherches Semiotiques / Semiotic Inquiry 22 (1-2-3):315-327.score: 68.0
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  24. Byron Almén (2008). A Theory of Musical Narrative. Indiana University Press.score: 68.0
    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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  25. 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.score: 66.0
     
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  26. Roger North (2006). Roger North's the Musicall Grammarian: 1728. Cambridge University Press.score: 66.0
    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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  27. Ed White (2012). How to Read Barthes' Image-Music-Text. Pluto Press.score: 66.0
     
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  28. Nicolas Darbon (2007). Musica Multiplex: Dialogique du Simple Et du Complexe En Musique Contemporaine. Harmattan.score: 62.0
    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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  29. Eero Tarasti (1992). A Narrative Grammar of Chopin's G Minor Ballade. Minds and Machines 2 (4):401-426.score: 60.0
    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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  30. Anna-Lena Kempe (2010). Design För Lärande I Musik. Norstedts.score: 60.0
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  31. M. J. Grant (2001). Serial Music, Serial Aesthetics: Compositional Theory in Post-War Europe. Cambridge University Press.score: 54.0
    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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  32. Mlchele Ignelziand Paolo Rosato (1996). Semiotic Processes in Music: Systemics and Modelization In. In Eero Tarasti, Paul Forsell & Richard Littlefield (eds.), Musical Semiotics in Growth. International Semiotics Institute. 151.score: 50.0
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  33. Jessica Green (2010). Understanding the Score: Film Music Communicating to and Influencing the Audience. Journal of Aesthetic Education 44 (4):81-94.score: 42.0
    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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  34. Michael Spitzer (2004). Metaphor and Musical Thought. University of Chicago Press.score: 42.0
    "The scholarship of Michael Spitzer's new book is impressive and thorough. The writing is impeccable and the coverage extensive. The book treats the history of the use of metaphor in the field of classical music. It also covers a substantial part of the philosophical literature. The book treats the topic of metaphor in a new and extremely convincing manner."-Lydia Goehr, Columbia University The experience of music is an abstract and elusive one, enough so that we're often forced to (...)
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  35. Kristie A. Foell (forthcoming). "Towards a Semiotic Understanding of Music. Semiotics:649-658.score: 42.0
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  36. Renata Lemos-Morais (2010). Money as Media: Gilson Schwartz on the Semiotics of Digital Currency. Continent 1 (1):22-25.score: 42.0
    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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  37. Eero Tarasti (forthcoming). Peirce and Greimas From the Viewpoint of Musical Semiotics. Semiotics:503-511.score: 40.0
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  38. William P. Dougherty (forthcoming). On Musical Semiotics. Semiotics:3-10.score: 40.0
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  39. Eero Tarasti (forthcoming). Arnold Schoenberg's Harmonielehre in the Light of Musical Semiotics. Semiotics:247-254.score: 40.0
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  40. Márta Grabócz (1996). The Role of Semiotical Terminology in Musical Analysis. In Eero Tarasti, Paul Forsell & Richard Littlefield (eds.), Musical Semiotics in Growth. International Semiotics Institute. 195--218.score: 34.0
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  41. Kevin Holm-Hudson (2006). Migration and Mediation of Music. People's Music in the People's Republic of China : A Semiotic Reading of Socialist Musical Culture From the Mid to Late 1950s / Hon-Lun Yang ; the Song That Doesn't Want to Die : The Nomadic Tango / Heloísa de Araújo Duarte Valente ; Globalizing Bach : The Promotion of Classical Music Between Idealism and Commerce / Cornelia Szabó-Knotik ; Tell Mussorgsky the News : Emerson, Lake and Palmer's Pictures at an Exhibition as Open Work. In Erkki Pekkilä, David Neumeyer & Richard Littlefield (eds.), Music, Meaning and Media. University of Helsinki.score: 34.0
     
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  42. Ennio Simeon (1996). Some Greimasian Concepts as Applied to the Analysis of Film Music. In Eero Tarasti, Paul Forsell & Richard Littlefield (eds.), Musical Semiotics in Growth. International Semiotics Institute. 4--347.score: 32.0
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  43. Jean-Yves Béziau (2012). The Power of the Hexagon. Logica Universalis 6 (1-2):1-43.score: 30.0
    The hexagon of opposition is an improvement of the square of opposition due to Robert Blanché. After a short presentation of the square and its various interpretations, we discuss two important problems related with the square: the problem of the I-corner and the problem of the O-corner. The meaning of the notion described by the I-corner does not correspond to the name used for it. In the case of the O-corner, the problem is not a wrong-name problem but a no-name (...)
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  44. Arjan van Baest & Willem Marie Speelman (1999). The Song of the Returned: A Two-Way Analysis in Musical Semiotics. Semiotica 123 (3-4):261-282.score: 30.0
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  45. Mark Reybrouck (2013). From Sound to Music: An Evolutionary Approach to Musical Semantics. [REVIEW] Biosemiotics 6 (3):1-22.score: 30.0
    This paper holds an evolutionary approach to musical semantics. Revolving around the nature/nurture dichotomy, it considers the role of the dispositional machinery to respond to sounding stimuli. Conceiving of music as organized sound, it stresses the dynamic tension between music as a collection of vibrational events and their potential of being structured. This structuring, however, is not gratuitous. It depends on levels of processing that rely on evolutionary older levels of reacting to the sounds as well as higher-level (...)
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  46. Robin James (2002). The Musical Semiotic. Philosophy Today 46 (5):113-119.score: 30.0
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  47. Melissa E. Korte (2002). Leonard B. Meyer: On the Threshold of Musical Semiotics. Semiotica 2002 (142).score: 30.0
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  48. Roland Jordan & Emma Kafalenos (1995). Listening to Music : Semiotic and Narratological Models. In M. G. Boroda (ed.), Units, Text and Language: An Interdisciplinary Approach. Universitätsverlag Dr. N. Brockmeyer.score: 30.0
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  49. Raymond Monelle (1999). Two Musical Semiologists (Eero Tarasti, A'Theory of Musical Semiotics' and David Lidov,'Elements of Semiotics'). Semiotica 123 (3-4):349-355.score: 30.0
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  50. Mark Reybrouck (2005). A Biosemiotic and Ecological Approach to Music Cognition: Event Perception Between Auditory Listening and Cognitive Economy. [REVIEW] Axiomathes. An International Journal in Ontology and Cognitive Systems. 15 (2):229-266.score: 26.0
    This paper addresses the question whether we can conceive of music cognition in ecosemiotic terms. It claims that music knowledge must be generated as a tool for adaptation to the sonic world and calls forth a shift from a structural description of music as an artifact to a process-like approach to dealing with music. As listeners, we are observers who construct and organize our knowledge and bring with us our observational tools. What matters is not merely (...)
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