UID:
edocfu_9959229250702883
Format:
1 online resource (232 p.)
Edition:
Reprint 2012
ISBN:
3-11-089987-6
Series Statement:
Approaches to Applied Semiotics [AAS] ; 3
Content:
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.
Note:
Description based upon print version of record.
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Front matter --
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Foreword --
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Contents --
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Part one: Music as sign --
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Chapter 1. Is music sign? --
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Chapter 2. Signs in music history, history of music semiotics --
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Chapter 3. Signs as acts and events: On musical situations --
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Part two: Gender, biology, and transcendence --
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Chapter 4. Metaphors of nature and organicism in music: A "biosemiotic" approach --
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Chapter 5. The emancipation of the sign: On corporeal and gestural meanings in music --
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Chapter 6. Body and transcendence in Chopin --
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Part three: Social and musical practices --
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Chapter 7. Voice and identity --
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Chapter 8. On the semiosis of musical improvisation: From Mastersingers to Bororo indians --
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Notes --
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References --
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Name index
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Issued also in print.
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English
Additional Edition:
ISBN 3-11-017227-5
Additional Edition:
ISBN 3-11-017226-7
Language:
English
Subjects:
Musicology
DOI:
10.1515/9783110899870
