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: 72.0
    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: 66.0
     
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  5. Eero Tarasti, Paul Forsell & Richard Littlefield (eds.) (1996). Musical Semiotics in Growth. International Semiotics Institute.score: 57.0
    (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: 51.0
    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: 51.0
     
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  8. Eero Tarasti (ed.) (1995). Musical Signification: Essays in the Semiotic Theory and Analysis of Music. Mouton De Gruyter.score: 48.0
    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: 46.0
    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. 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: 45.0
     
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  11. 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: 45.0
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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: 42.0
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  13. Gianmario Borio (2009). The Crisis of Musical Aesthetics in the 21st Century. Topoi 28 (2):109-117.score: 39.0
    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: 39.0
    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: 39.0
     
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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: 39.0
     
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  17. David Machin (2013). Towards a Social Semiotics of Rhythm in Popular Music. Semiotica 2013 (197):119-140.score: 37.0
    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. 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: 36.0
     
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  19. F. Escal (1987). Roland Barthes: Fragments d'Un Discours Sur la Musique in Semiotics of Music. Semiotica 66 (1-3):57-68.score: 36.0
     
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  20. Philip Tagg (1987). Musicology and the Semiotics of Popular Music. Semiotica 66 (1/3):279-298.score: 36.0
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  21. E. Tarasti (1987). Special Issue on Semiotics of Music. Semiotica 66 (1-3).score: 36.0
     
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  22. Eero Tarasti (1987). Semiotics of Music. Semiotica 66 (1-3):1-330.score: 36.0
     
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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: 34.0
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  24. Byron Almén (2008). A Theory of Musical Narrative. Indiana University Press.score: 34.0
    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: 33.0
     
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  26. Roger North (2006). Roger North's the Musicall Grammarian: 1728. Cambridge University Press.score: 33.0
    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: 33.0
     
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  28. Nicolas Darbon (2007). Musica Multiplex: Dialogique du Simple Et du Complexe En Musique Contemporaine. Harmattan.score: 31.0
    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: 30.0
    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: 30.0
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  31. M. J. Grant (2001). Serial Music, Serial Aesthetics: Compositional Theory in Post-War Europe. Cambridge University Press.score: 27.0
    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. Eero Tarasti (forthcoming). Peirce and Greimas From the Viewpoint of Musical Semiotics. Semiotics:503-511.score: 24.0
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  33. Eero Tarasti (forthcoming). Arnold Schoenberg's Harmonielehre in the Light of Musical Semiotics. Semiotics:247-254.score: 24.0
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  34. William P. Dougherty (forthcoming). On Musical Semiotics. Semiotics:3-10.score: 24.0
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  35. Jessica Green (2010). Understanding the Score: Film Music Communicating to and Influencing the Audience. Journal of Aesthetic Education 44 (4):81-94.score: 21.0
    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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  36. Michael Spitzer (2004). Metaphor and Musical Thought. University of Chicago Press.score: 21.0
    "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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  37. Mark Reybrouck (2013). From Sound to Music: An Evolutionary Approach to Musical Semantics. [REVIEW] Biosemiotics 6 (3):1-22.score: 21.0
    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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  38. Sophie Cacciaguidi-Fahy & Annabelle Mooney (2009). The Promise of Legal Semiotics. International Journal for the Semiotics of Law - Revue Internationale de Sémiotique Juridique 22 (4):381-386.score: 21.0
    The aim of the 2008 Roundtable was to focus on the progress to date in the many facets—methodological, epistemological and conceptual—of the field of legal semiotics, specifically the contribution of different schools and forms of semiotics as well as emerging and emergent semiotics approaches which can be used in researching and interpreting law and legal phenomena. The participants sought primarily to engage with the epistemological and methodological challenges which the field currently faces and to discuss the implications (...)
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  39. Kristie A. Foell (forthcoming). "Towards a Semiotic Understanding of Music. Semiotics:649-658.score: 21.0
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  40. Elliot Gaines (2012). British Imperialism in Fiji: A Model for the Semiotics of Cultural Identity. [REVIEW] International Journal for the Semiotics of Law - Revue Internationale de Sémiotique Juridique 25 (2):167-175.score: 21.0
    The history and effects of British imperialism in Fiji created a model for analyzing the semiotics of cultural identity. Following the acquisition of land in Fiji, the British recruited impoverished people from India and relocated them as indentured servants to do work on sugar cane plantations that natives refused to do. When Fiji became independent nearly 100 years later, the island nation had nearly equal populations of native Fijians and people of Indian decent. Fiji experienced three military coupes between (...)
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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: 21.0
     
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  42. Miklós Könczöl (2009). What There is Left and How It Works: Ancient Rhetoric and the Semiotics of Law. [REVIEW] International Journal for the Semiotics of Law - Revue Internationale de Sémiotique Juridique 22 (4):399-410.score: 21.0
    The present paper examines three parts of ancient school rhetoric: the issues, the topics, and the questions of style from the perspective of legal semiotics. It aims (1) to demonstrate the roles these have played and can play in the interpretation of legal discourses; and (2) to summarise what insights have been and can be gained from this classical tradition by contemporary legal research. It is argued that the promise of legal semiotics for rhetorical investigations is that it (...)
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  43. Renata Lemos-Morais (2010). Money as Media: Gilson Schwartz on the Semiotics of Digital Currency. Continent 1 (1):22-25.score: 21.0
    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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  44. Charls Pearson (2008). Beyond Peirce: The New Science of Semiotics and the Semiotics of Law. [REVIEW] International Journal for the Semiotics of Law - Revue Internationale de Sémiotique Juridique 21 (3):247-296.score: 21.0
    This paper shows how Peirce's semeiotic could be turned into a powerful science. The New Science of Semiotics provides not only a new paradigm and an empirical justification for all these applications, but also a rational and systematic procedure for carrying them out as well. Thus the New Science of Semiotics transforms the philosophy of law into the science of legal scholarship, the discipline that I call jurisology.
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  45. Colin Robertson (2010). EU Law and Semiotics. International Journal for the Semiotics of Law - Revue Internationale de Sémiotique Juridique 23 (2):145-164.score: 21.0
    The European Union is one of the ‘big ideas’ of the twentieth and twenty-first centuries and has been built on the idea of the European Community, which it supersedes. Seen in this light the emergent law of the European Union is becoming omnipresent in so many ways and yet it does not appear to have been the subject of as much semiotic study as it deserves. This paper takes a multilingual stance and explores emerging EC and EU law from a (...)
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  46. Anne Wagner (2010). Mapping Legal Semiotics. International Journal for the Semiotics of Law - Revue Internationale de Sémiotique Juridique 23 (1):77-82.score: 21.0
    The essay seeks to harness the diverse and innovative work to date of legal semiotics. It seeks to bring together the cumulative research traditions of these related areas as a preclusion to identifying fertile avenues for research.
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  47. Vadim Verenich (forthcoming). The Splendors and Miseries of Constitutional Reasoning in Times of Global Crisis: A Critical Look From the Realist Perspectives of Semiotics. International Journal for the Semiotics of Law - Revue Internationale de Sémiotique Juridique:1-25.score: 19.0
    The European Stability Mechanism (ESM) is the rescue fund that may grant loans to struggling euro zone governments by issuing bonds, collectively by the euro zone members. The implementation of the ESM spawned a lot of legal challenges brought to higher judicial authority in Ireland, Austria, Estonia, Germany and Poland. In the fall of 2012 the ESM was subject to legal analysis in the Estonian National Court, the German Constitutional Court, and in the European Court of Justice. Delivering much anticipated (...)
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  48. Christopher B. Gray (2009). The Semiotics of Memes in the Law: Jack Balkin's Promise of Legal Semiotics. [REVIEW] International Journal for the Semiotics of Law - Revue Internationale de Sémiotique Juridique 22 (4):411-424.score: 19.0
    The jurisprudent Jack M. Balkin introduced the analogy of memes as a semiotic device for understanding the law. His notion of cultural software into which this device was inserted is developed first, followed by a development of memetic analysis and its several semiotic dimensions. After a brief treatment of the position of ideology in view of memetic analysis, and the corresponding notion of transcendence, Balkin’s explicitly semiotic setting for this doctrine is displayed. This method is then briefly applied to the (...)
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  49. Massimo Leone (2013). The Semiotics of Fundamentalist Authoriality. International Journal for the Semiotics of Law - Revue Internationale de Sémiotique Juridique 26 (1):227-239.score: 19.0
    The essay seeks to single out, describe, and analyze the main semiotic features that compose the fundamentalist understanding of authoriality. Given a definition of authoriality as the series of semiotic dynamics that induce a reader to posit a genetic relation between an author and a text, the fundamentalist authoriality is characterized as displaying six main traits. First, centrality of the written text: in order to postulate a perfect coincidence between a transcendent intentio auctoris (intention of the author) and an immanent (...)
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  50. Robin James (2011). &Quot;feminist Aesthetics, Popular Music, and the Politics of the 'Mainstream'&Quot;. In L. Ryan Musgrave (ed.), Feminist Aesthetics and Philosophy of Art. Springer.score: 18.0
    While feminist aestheticians have long interrogated gendered, raced, and classed hierarchies in the arts, feminist philosophers still don’t talk much about popular music. Even though Angela Davis and bell hooks have seriously engaged popular music, they are often situated on the margins of philosophy. It is my contention that feminist aesthetics has a lot to offer to the study of popular music, and the case of popular music points feminist aesthetics to some of its own limitations (...)
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