Signs of Music : A Guide to Musical Semiotics /
Tarasti, Eero
Signs of Music : A Guide to Musical Semiotics / Eero Tarasti. - Reprint 2012 - 1 online resource (224 p.) - Approaches to Applied Semiotics [AAS] , 3 1612-6769 ; .
Frontmatter -- Foreword -- Contents -- Part one: Music as sign -- Chapter 1. Is music sign? -- Chapter 2. Signs in music history, history of music semiotics -- Chapter 3. Signs as acts and events: On musical situations -- Part two: Gender, biology, and transcendence -- Chapter 4. Metaphors of nature and organicism in music: A “biosemiotic” approach -- Chapter 5. The emancipation of the sign: On corporeal and gestural meanings in music -- Chapter 6. Body and transcendence in Chopin -- Part three: Social and musical practices -- Chapter 7. Voice and identity -- Chapter 8. On the semiosis of musical improvisation: From Mastersingers to Bororo indians -- Notes -- References -- Name index
restricted access http://purl.org/coar/access_right/c_16ec
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.
Mode of access: Internet via World Wide Web.
In English.
9783110172263 9783110899870
10.1515/9783110899870 doi
Music--Philosophy and aesthetics.
Music--Semiotics.
Symbolism in music.
Musikalische Semiotik.
LANGUAGE ARTS & DISCIPLINES / Linguistics / General.
ML3845 ǂb T348 2002eb
780/.1/4
Signs of Music : A Guide to Musical Semiotics / Eero Tarasti. - Reprint 2012 - 1 online resource (224 p.) - Approaches to Applied Semiotics [AAS] , 3 1612-6769 ; .
Frontmatter -- Foreword -- Contents -- Part one: Music as sign -- Chapter 1. Is music sign? -- Chapter 2. Signs in music history, history of music semiotics -- Chapter 3. Signs as acts and events: On musical situations -- Part two: Gender, biology, and transcendence -- Chapter 4. Metaphors of nature and organicism in music: A “biosemiotic” approach -- Chapter 5. The emancipation of the sign: On corporeal and gestural meanings in music -- Chapter 6. Body and transcendence in Chopin -- Part three: Social and musical practices -- Chapter 7. Voice and identity -- Chapter 8. On the semiosis of musical improvisation: From Mastersingers to Bororo indians -- Notes -- References -- Name index
restricted access http://purl.org/coar/access_right/c_16ec
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.
Mode of access: Internet via World Wide Web.
In English.
9783110172263 9783110899870
10.1515/9783110899870 doi
Music--Philosophy and aesthetics.
Music--Semiotics.
Symbolism in music.
Musikalische Semiotik.
LANGUAGE ARTS & DISCIPLINES / Linguistics / General.
ML3845 ǂb T348 2002eb
780/.1/4