(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 ...

Transdisciplinary and intermedial analysis of the experience of music. Nowadays musical semiotics no longer ignores the fundamental challenges raised by cognitive sciences, ethology, or linguistics. Creation, action and experience play an increasing role in how we understand music, a sounding structure impinging upon our body, our mind, and the world we live in. Not discarding music as a closed system, an integral experience of music demands a transdisciplinary dialogue with other domains as well. Music, Analysis, (...) Experience brings together contributions by semioticians, performers, and scholars from cognitive sciences, philosophy, and cultural studies, and deals with these fundamental questionings. Transdisciplinary and intermedial approaches to music meet musicologically oriented contributions to classical music, pop music, South American song, opera, narratology, and philosophy. (shrink)

Profound theoretical and philosophical approach to contemporary music Unsayable Music presents theoretical, critical and analytical reflections on key topics of contemporary music including acoustic, electroacoustic and digital music, and audiovisual and multimedia composition. Six essays by Paulo C. Chagas approaching music from different perspectives such as philosophy, sociology, cybernetics, musical semiotics, media, and critical studies. Chagas’s practical experience, both as a composer of contemporary music and sound director of the Electronic Music Studio of (...) Cologne, nourishes his observations on the specific creativity that emerges with the use of the technical apparatus, the development of the electronic music studio, the different aesthetics of electroacoustic music, and the forms of audiovisual and multimedia composition. The title Unsayable Music is a reference to Wittgenstein, who suggested that sound is only the surface of music and that the musical work conceals something more profound that can hardly be described by philosophical models or scientific theories. (shrink)

Music is said to be the most autonomous and least representative of all the arts.

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 ...

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 ...

Based on chapter 3 “The musical Work and its score” of Roman Ingarden’s The Work of Music and the Problem of its Identity, this paper examines the semiotic theory from which the Polish philosopher develops his analysis of music.

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 ...

This article demonstrates how Iranian classical music and Persian medieval poetry, taken as separate semiotic systems, form together, in certain contexts, a single hybrid semiotic system with overlapping structural features and shared aesthetic principles. Hjelmslev’s description of connotative semiotic systems serves as a theoretical framework to show the modalities of this hybridization. This phenomenon can be observed through comparative analysis of the interdependence of poetry and music in the Persianate World from a semiotic point of view. On the (...) one hand, the quantitative (chronemic) meter of the Persian classical versification, called ‘aruz, as well as its extraordinarily heavy use of rhyme display a formal structure that evokes that of a musical phrase. On the other hand, the dependence of the structure of the Iranian musical system upon the rhythmic structure of classical poetry suggests a unique character of which few examples exist. This interdependence manifests itself particularly in the mystic (Sufi) poetry of the medieval period, specifically in the work of such renowned poets as Rumi, Sa’di Shirāzi, and Hāfez, who are among the best-known in the West. Examples of their lyric works are examined here to demonstrate occurrences of the collusion between the two semiotic systems. (shrink)

This text is a first attempt of approaching traditional music, musical/poetic structures and ethnographic research semiotically. The basic elements of traditional music, the musical/poetic structures with morphological types and formulas, musical and non-musical codes during a musical performance as well as the ethnographic research itself with its own “performances” constitute groups of “signs” and codes that, combined together, create complex frames of meanings and re-definitions not only among musicians and revelers but also among ethnographers and their interlocutors and (...) among ethnographic “texts” and their representations after multiple readings. This text presents elements that emerged after an enduring field research in Crete. The use of semiotics in the study of traditional music and musical analysis can constitute a useful analysis tool for ethnographic research from planning to composing ethnographic “texts”. This text highlights the necessity of initiating a dialogue concerning the aspects and perspectives of a semiotic approach to musicology and music ethnography. (shrink)

Unlike sonographic examinations, sonic fetal heartbeat monitoring has received relatively little attention from scholars in the social sciences. Using the case of fetal heartbeat monitoring as part of midwifery prenatal care in Germany, this contribution introduces music as an analytical tool for exploring the aesthetic dimensions of obstetrical surveillance practices. Based on ethnographic stories, three orchestrations are compared in which three different instruments help audiences to listen to what becomes fetal heartbeat music and to qualify fetal and pregnant (...) lives in relation to each other. In the Doppler-based orchestration, audible heartbeat music is taken as a sign of a child in need of parental love and care cultivated to listen. The Pinard horn makes esoteric fetal music that can be appreciated by the midwife as a skilled instrumentalist alone and helps to enact a child hidden in the belly. The cardiotocograph brings about soothing music and a reassuring relationship with a child but also durable scripts of juridical beauty. This material-semiotic analysis amplifies how well-being is shaped in midwifery prenatal care practices. (shrink)

This handbook for advanced students explains the various applications to music of methods derived from linguistics and semiotics. The book is aimed at musicians familiar with the ordinary range of aesthetic and theoretical ideas in music; no specialized knowledge of linguistic or semiotic terminology is necessary. In the two introductory chapters, semiotics is related to the tradition of music aesthetics and to well-known works like Deryck Cooke's The Language of Music, and the methods of linguistics are (...) explained in language intelligible to musicians. There is no limitation to one school or tradition; linguistic applications not avowedly semiotic, and semiotic theories not connected with linguistics, are all included. The book gives clear and simple descriptions with ample diagrams and music examples of the 'neutral level', 'semiotic analysis', transformation and generation, structural semantics and narrative grammar, intonation theory, the ideas of C.S. Peirce, and applications in ethnomusicology. (shrink)

Aesthetics, experiments and values -- Between cybernetics, aesthetics, and semiotics -- 'I/other' oppositions in music, aesthetics, and semiotics -- Interpersonal analysis in film music -- Janácek from an interpersonal viewpoint -- Postscript.

This paper presents a new line of inquiry into when and how music as a semiotic system was born. Eleven principal expressive aspects of music each contains specific structural patterns whose configuration signifies a certain affective state. This distinguishes the tonal organization of music from the phonetic and prosodic organization of natural languages and animal communication. The question of music’s origin can therefore be answered by establishing the point in human history at which all eleven expressive (...) aspects might have been abstracted from the instinct-driven primate calls and used to express human psycho-emotional states. Etic analysis of acoustic parameters is the prime means of cross-examination of the typical patterns of expression of the basic emotions in human music versus animal vocal communication. A new method of such analysis is proposed here. Formation of such expressive aspects as meter, tempo, melodic intervals, and articulation can be explained by the influence of bipedal locomotion, breathing cycle, and heartbeat, long before Homo sapiens. However, two aspects, rhythm and melodic contour, most crucial for music as we know it, lack proxies in the Paleolithic lifestyle. The available ethnographic and developmental data leads one to believe that rhythmic and directional patterns of melody became involved in conveying emotion-related information in the process of frequent switching from one call-type to another within the limited repertory of calls. Such calls are usually adopted for the ongoing caretaking of human youngsters and domestic animals. The efficacy of rhythm and pitch contour in affective communication must have been spontaneously discovered in new important cultural activities. The most likely scenario for music to have become fully semiotically functional and to have spread wide enough to avoid extinctions is the formation of cross-specific communication between humans and domesticated animals during the Neolithic demographic explosion and the subsequent cultural revolution. Changes in distance during such communication must have promoted the integration between different expressive aspects and generated the basic musical grammar. The model of such communication can be found in the surviving tradition of Scandinavian pastoral music - kulning. This article discusses the most likely ways in which such music evolved. (shrink)

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 of (...) his focus on the status of time in the works considered. This approach allows him to take sides, sometimes in a provocative manner, in the ongoing debates which pit adherents of modernity against apologists of postmodernism. (shrink)

The use of facial recognition systems in concerts provides a perfect pretext to semiotically discuss the role of the face in contemporary culture, identifying different strategies and axiologies (systems of values). In his visionary essay Bruits (“noises”) from 1977, the French thinker Jacques Attali establishes a close connection between music and power and locates it in the site of the collective unfolding of music: the concert hall. Following this hint, the article reconstructs the current debate on facial recognition (...) systems in the music business, with a particular focus on concerts and festivals. The different positions (of musicians, authorities, and professionals) are outlined (some are openly in favor, others openly against), key moments are identified (Beyoncé’s concert in Cardiff, 2017; Jacky Cheung’s in Nanchang, 2018; Taylor Swift’s at the Rose Bowl in Pasadena, 2018; the “banfacialrecognition.com” campaign launched in 2019; the case of Barbara Hart at Brandi Carlile’s show at the Madison Square Garden, 2022) and, finally, the issue is framed within the broader debate about the face as an indexical marker of presence, identity, and humanity (the contrast between Italian philosopher Giorgio Agamben and American sociologist and design theorist Benjamin Bratton is addressed). (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2014 Heft: 202 Seiten: 533-553.

Cultural studies constitutes one of the most multi-perspectival research fields. Amidst a polyvocal theoretical landscape that spans different disciplines semiotics is of foundational value. In an attempt to effectively address the conceptual richness of the semiotic discipline, a wide roster of perspectives is evoked in this book against the background of a diverse set of cultural phenomena, including structuralist and post-structuralist semiotics, semiotically informed psychoanalysis, cultural semiotics, film semiotics, sociosemiotics, but also, to a lesser extent, music semiotics and more (...) niche, but certainly promising perspectives, such as postmodern semiotics, ethnosemiotics, phenomenological semiotics and rhetorical semiotics. The recruitment of semiotic frameworks and concepts is enacted against the background of advances in cultural studies (thus reinstating the dialogue with a discipline that took form by drawing on semiotics in the first place) and the various research streams that have become consolidated within the wider cultural studies territory, such as memory studies, celebrity studies, death studies, cultural geography, visual studies. At the same time, the offered readings engage dialogically with Consumer Culture Theory. As regards the diversity of cultural phenomena that constitute the empirical substratum of the offered analyses, music, cinema, new media, live-shows, branding, advertising and literature constitute the focal areas of concern. Under the aegis of a permeating textuality paradigm, the ubiquitously applicable tools of multimodal analysis, and time-hallowed qualitative research methods facilitated by advances in videography and archival research, the featured semiotic readings aim at scrutinizing the wider social implications and communicative functions of popular cultural artefacts, spectacles, processes and places, such as Lady Gaga’s monstrosity, Dio’s memorial, experiential consumption events, the ice-bucket challenge video meme. (shrink)

In Nietzsche’s mature work reflections, marked by the elaboration of a semiotic conception of music, pain plays a central role in music. In order to extract its full potential, it is very fruitful to confront it with Theodor W. Adorno’s philosophy of music and his reading of Nietzschean texts. All that will be aimed at the main task of this study: to extract the guidelines of a ‘philosophical semiotics of music’, as a proposal for the present. (...) And as a conclusion, its application to Alban Berg’s work. (shrink)

The dawn of music semiology showcases the work of ten leading musicologists inspired by the work of Jean-Jacques Nattiez. Reflecting the energy and diversity of the young field of music semiology, chapters in this volume discuss music and gesture, the psychology of music, and the role of ethnotheory, and offer new research on topics as diverse as modeling folk polyphony, spatialization in the Darmstadt repertoire, Schenker's theory of musical content, and modernism from Wagner to Boulez.

Music, difference and repetition -- Producing new music : rhizomes, assemblages and refrains -- Rethinking musical pitch : the smooth and the striated -- Thinking musical time -- A Deleuzian semiotics of music.

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, (...) modern poetry and the information aesthetics and semiotics of Max Bense and Umberto Eco. M. J. Grant sketches an aesthetic theory of serialism as experimental music, arguing that serial theory's embrace of both rigorous intellectualism and aleatoric processes is not, as many have suggested, a paradox, but the key to serial thought and to its relevance for contemporary theory. (shrink)

Imagine a single musical tone—for instance, the A above middle C that the oboe plays to tune an orchestra. Now imagine this tone, with no variation in dynamics, pitch, or timbre, extended over the course of “an hour or a day,” existing, as Peirce describes in “How to Make Our Ideas Clear” (W3:262),1 “as perfectly in each second of that time as in the whole taken together; so that, as long as it is sounding, it might be present to a (...) sense from which everything in the past was as completely absent as the future itself” (W3:262). Imagine a world consisting of nothing but the sensation of this single oboe A, and having never consisted of anything but it. In such a world, Peirce indicates, there would be no .. (shrink)

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.