| 000 | 05339nam a22006495i 4500 | ||
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| 001 | 225603 | ||
| 003 | IT-RoAPU | ||
| 005 | 20230501182343.0 | ||
| 006 | m|||||o||d|||||||| | ||
| 007 | cr || |||||||| | ||
| 008 | 230228t20122012gw fo d z eng d | ||
| 019 | _a(OCoLC)843634976 | ||
| 020 |
_a9781614511540 _qprint |
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| 020 |
_a9781614511410 _qPDF |
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| 024 | 7 |
_a10.1515/9781614511410 _2doi |
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| 035 | _a(DE-B1597)9781614511410 | ||
| 035 | _a(DE-B1597)176203 | ||
| 035 | _a(OCoLC)840440220 | ||
| 040 |
_aDE-B1597 _beng _cDE-B1597 _erda |
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| 050 | 4 |
_aML3845 _b.T347 2012 |
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| 072 | 7 |
_aLAN009000 _2bisacsh |
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| 082 | 0 | 4 |
_a780.1/4 _223 |
| 084 | _aonline - DeGruyter | ||
| 100 | 1 |
_aTarasti, Eero _eautore |
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| 245 | 1 | 0 |
_aSemiotics of Classical Music : _bHow Mozart, Brahms and Wagner Talk to Us / _cEero Tarasti. |
| 264 | 1 |
_aBerlin ; _aBoston : _bDe Gruyter Mouton, _c[2012] |
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| 264 | 4 | _c©2012 | |
| 300 | _a1 online resource (493 p.) | ||
| 336 |
_atext _btxt _2rdacontent |
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| 337 |
_acomputer _bc _2rdamedia |
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| 338 |
_aonline resource _bcr _2rdacarrier |
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| 347 |
_atext file _bPDF _2rda |
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| 490 | 0 |
_aSemiotics, Communication and Cognition [SCC] , _x1867-0873 ; _v10 |
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| 505 | 0 | 0 |
_tFrontmatter -- _tContents -- _tPreface -- _tPrelude: Music – A Philosophico-Semiotic Approach -- _tChapter 1. Introduction to a Philosophy of Music -- _tPart I. THE CLASSICAL STYLE -- _tChapter 2. Mozart, or, the Idea of a Continuous Avant-garde -- _tChapter 3. Existential and Transcendental Analysis of Music -- _tChapter 4. Listening to Beethoven: Universal or National, Classic or Romantic? -- _tPart II. The Romantic Era -- _tChapter 5. The irony of romanticism -- _tChapter 6. “… ein leiser Ton gezogen …”: Robert Schumann’s Fantasie in C major (op. 17) in the light of existential semiotics -- _tChapter 7. Brahms and the “Lyric I”: A Hermeneutic Sign Analysis -- _tChapter 8. Brünnhilde’s Choice; or, a Journey into Wagnerian Semiosis: Intuitions and Hypotheses -- _tChapter 9. Do Wagner’s leitmotifs have a system? -- _tPart III. Rhetorics and Synaesthesias -- _tChapter 10. Proust and Wagner -- _tChapter 11. Rhetoric and Musical Discourse -- _tChapter 12. The semiosis of light in music: from synaesthesias to narratives -- _tChapter 13. The implicit musical semiotics of Marcel Proust -- _tChapter 14. M. K. Čiurlionis and the interrelationships of arts -- _tChapter 15. Čiurlionis, Sibelius and Nietzsche: Three profiles and interpretations -- _tPart IV. In the Slavonic World -- _tChapter 16. An essay on Russian music -- _tChapter 17. The stylistic development of a composer as a cognition of the musicologist: Bohuslav Martinů -- _tPostlude I -- _tChapter 18. Do Semantic Aspects of Music Have a Notation? -- _tPostlude II -- _tChapter 19. Music – Superior Communication -- _tGlossary of Terms -- _tBibliography -- _tIndex of persons and musical works |
| 506 | 0 |
_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star |
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| 520 | _aMusical semiotics is a new discipline and paradigm of both semiotics and musicology. In its tradition, the current volume constitutes a radically new solution to the theoretical problem of how musical meanings emerge and how they are transmitted by musical signs even in most "absolute" and abstract musical works of Western classical heritage. Works from symphonies, lied, chamber music to opera are approached and studied here with methods of semiotic inspiration. Its analyses stem from systematic methods in the author's previous work, yet totally new analytic concepts are also launched in order to elucidate profound musical significations verbally. The book reflects the new phase in the author's semiotic approach, the one characterized by the so-called "existential semiotics" elaborated on the basis of philosophers from Kant , Hegel and Kierkegaard to Jaspers, Heidegger, Sartre and Marcel. The key notions like musical subject, Schein, becoming, temporality, modalities, Dasein, transcendence put musical facts in a completely new light and perspectives of interpretation. The volume attempts to make explicit what is implicit in every musical interpretation, intuition and understanding: to explain how compositions and composers "talk" to us. Its analyses are accessible due to the book's universal approach. Music is experienced as a language, communicating from one subject to another. | ||
| 530 | _aIssued also in print. | ||
| 538 | _aMode of access: Internet via World Wide Web. | ||
| 546 | _aIn English. | ||
| 588 | 0 | _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 28. Feb 2023) | |
| 650 | 0 |
_aMusic _xPhilosophy and aesthetics. |
|
| 650 | 0 |
_aMusic _xSemiotics. |
|
| 650 | 4 | _aKlassische Musik. | |
| 650 | 4 | _aKommunikation. | |
| 650 | 4 | _aSemiotik. | |
| 650 | 7 |
_aLANGUAGE ARTS & DISCIPLINES / Linguistics / General. _2bisacsh |
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| 653 | _aClassical Music. | ||
| 653 | _aCommunication Studies. | ||
| 653 | _aMusicology. | ||
| 653 | _aPhilosophy. | ||
| 653 | _aSemiotics. | ||
| 850 | _aIT-RoAPU | ||
| 856 | 4 | 0 | _uhttps://doi.org/10.1515/9781614511410 |
| 856 | 4 | 0 | _uhttps://www.degruyter.com/isbn/9781614511410 |
| 856 | 4 | 2 |
_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9781614511410/original |
| 942 | _cEB | ||
| 999 |
_c225603 _d225603 |
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