ISI Library

Notes: preface by Eero Tarasti

Annotation: This book is an introduction to Eero Tarasti's works on music, as well as musical semiotics in general. It covers a wide range of sources from multiple disciplinary fields in order to familiarize the reader with the basic language and common references of semiotic inquiries in music. Starting with the basics of structural and Peircean semiotics, theories of discourse, topic theory and others, and their application to music, the book moves on to discuss their interpretation in Tarasti's decade-long oeuvre.

Identifier: 9789526906157

Status: Available

Other title information: early Soviet musical culture and the musicological theory of Boris Asafiev (1884–1949)

Annotation: This is the first English language analytical and critical monograph to examine Asafiev's literary output during 1916-1930. The author explores Asafiev's critical and musicological works both against the backfrop of Russian cultural history, an within the Western Europen intellectual historical context. She demonstrates how Asafiev became an established Soviet cultural theorietician of music, a celebrated but also a persecuted Soviet musicologist.

Identifier: 9789526825779

Status: Available

Annotation: In the years 2008-2009 The Finnish Academy of Sciences funded a research project entitled PHILOSOPHIES OF PERFORMANCE - Finnish music, art and avant-garde. The project focused on temporal, i.e. performing arts, their background philosophies and signifying processes. The empirical material was mostly about Finnish art. Yet, the idea was to develop also "universal" theoretical models relevant to other traditions and fields. Music served as the core phenomenon but it was also scrutinised in its intertextual connections. This anthology offers some results but also contributions from other scholars whom the project stimulated. The authors are Aurea Dominiguez, Joan Grimalt, Sergio Lanza, Otto Lehto, Grisell Macdonel Dario Martinelli, Bogumila Mika, Lina Navickaté-Martinelli, Pärttyli Rinne, Filip Sikorski, Eero Tarasti, Juha Torvinen, Alessia R. Vitale and Nayden Yotof.

Identifier: 9525431371

Status: Available

Other title information: proceedings of the 11th International Congress on Musical Signification, 27 IX – 2 X 2010, Krakow, Poland, Volume 2

Annotation: Proceedings of the 11th international congress on musical signification ICMS XI.

Identifier: 9788362743193

Status: Available

Annotation: In this study, Gabriel Pareyon presents a theory of musical meaning formation in the context of intersemiosis, that is, the translation of meaning from one cognitive domain to another cognitive domain (e.g. from mathematics to music, or to speech or graphic forms). From this perspective, the degree of coherence of a musical systems relies on a synecdochic intersemiosis: a system of related signs within other comparable and correlated systems. The author analyzes the modalities of such correlations, exploring their general and particular traits, and their operational bounds. Accordingly, the notion analofy is used as a rich concept through its two definitions quoted by the classical literature - proportion and paradigm, enormously valuable in establishinf mesurement, likeness and affinity criteria. At the same time, original arguments by Benoit B. Mandelbrot (1924-2010) are revised, alongside a systematic critique of the literature on the subject. In fact, connecting Charles S. Peirce!s synechism with Mandelbrot's fractality is on of the main developnets of the presents study.

Identifier: 9789525431322

Status: Available

Annotation: The pupose of this book is twofold: First, being epistemological in nature, it is concerned with identifying methodologically and philosophically valuable achievements of contemporary musical semiotics. The second purpose is a pragmatic one. It stems from the need to interpret the theoretical thought of Eero Tarasti. There is no doubt that today's semiotic-musical thought, in the most general terms, is dominated by two central names and the theories behind them. The names are Jean-Jacques Nattiez and Eero Tarasti. While reconstructing Tarasti's theory, I use the text interpretation method suggested by Gunter Grimm. It originaterd with the general theory of reception formulated by E.D. Hirsch.

Identifier: 9789525431278

Status: Available

Other title information: an abductive theory of the musical composition process

Annotation: Space in Musical semiotsis examines key issues of musical signification. It employs C. S. Peirce's semiotics and cognitive metaphor theories to establish a theory of the musical composisiton process, an epitome of musical signification.

Identifier: 9789525431285

Status: Available

Annotation: Individando nel pensiero musicale del Seicento archetipi correnti della comunicazione passionale attraverso i suoni, il volume ricompone le fila di un dibattito ideale sull'identita del segno musicale che lo misurava con quello linguistico o con la creaziobne poetica, non senza riportarlo al codice espressivo degli animali o al canto degli uccelli.

Identifier: 8820731991

Status: Available

Other title information: Précis de sémiotique musicale

Notes: Edited and expanded edition partly of the book Signs of Music (2002), added is a then not published text about synesthesia.

Annotation: This volume is intended to serve as a "practical guide" to musical semiotics, that is, to the study of music as sign and communication. It includes both a history of this relatively new discipline as well as new contributions of my own invention. The book was originally much longer, but some chapters, such as those dealing with Wagner, have been deleted, and reserved for another volume. I hope that what is retained here will encourage readers, whether they are students of music, musicology, or semiotics, more established researchers, or inquiring minds of any kind, to learn more about musical semiotics. The field is currently undergoing fascinating processes of formation, growth, and diversity.

Identifier: 2296004091

Status: Available

Other title information: virtues and vices of vocal translation

Annotation: Vocal translation is an old art, but the interpretive feeling, skill and craft have expanded into a relatively new area in translation studies. Vocal translation is the translation of the poetic discourse in the hybrid art of the musicopoetic (or poeticomusical) forms, shapes and skills. This symbiotic construct harmonizes together the conflicting roles of music and language in face-to-face singing performances. The artist sings in an accurate but free flow, but sung in a language different from the original lyrics.

Identifier: 9042016876

Status: Available

Annotation: This book presents a study of music notation and its computer representation. Music notation is prehaps the most complex notational system invented by a man. As a consequence, its processing by the computer poses complex, but nevertheless interesting problems. The author addresses the question of computer representation of music notation with the aid of another representation tool: object-oriented analysis.

Identifier: 952543107X

Status: Available

Annotation: Systems of Musical Sense breathes new life into the field of music semiotics in its intuitive mix of logical rigor and hermeneutical interpretation and unique approach to paradigmatic analysis (Ruwet, Nattiez) and established theories of tinal music (Schoenberg). More significantly, te authors lay out an entirely new and innovative theory in their concept of musical homestasis, a phenomenon closely related to the fundamental law of physics which states that all things set in motion, organic and inorganic, tend to return to their initial point of rest. In tonal music, which also incorporates teology, this can take place at different levels, embodied by various parameters. The sensitive analyses here demonstrate ramifications of this axiom and cast new light on the structuring and effects de sens of tinal genres ranging in diversity from Bach chorales to Wagnerian opera. The culmination of mera tha a decade of research by this tea of widely published music scholars, the book is also a starting point: cognitivists, theorists, musicologists, and others can use the analytic methos "as is", develop it further, or transform it.The systems unvailed here need not be confined to tonal, "common-practice" art music. As universal axiom at least as dependable as the gestaltists "law of good continuation", the theory of homeostasis reveals new dimensions in earlier musical style and thos of more contemporary vintage.

Identifier: 9525431061

Status: Available

Annotation: A study interested in the frames and the margins of musical analysis.

Identifier: 9525431002

Status: Available

Annotation: Live Samba takes as its main topic the pagode movement, which apperead in the 1980s as a re-invention of the samba tradition. Deeply grounded in the most idiosyncratic musical patterns of samba, pagode countered the hegemony of the samba-schools and their media appeal. Pagode, too, became a major commercial success. It appeared in a transitional period, at the moment the music industry was shifting its focus towards lowe classes of the population. As a result, pagode and other local-based styles led the way to a recoinfiguration of Brazilian music. The transitional nature of this moment is reflected in the ambivalent nature of tpagode meanings. Those meanings were firmly attached to the local sphere, while at the same time open to communocation with translocal levels. In Live Samba, the author analyses pagode as a practice comprising both musical traits and symbolic associations with other spheres of Brazilian culture. The book looks at pagode songs through the frames of the samba tradition, of Brazilian society, of the commodity environment, and of musical signification, and it provides an introductory survey of samba and of the Brazilian music indurstry.

Identifier: 9519865497

Status: Available

Notes: 1

Annotation: This book is about the meaning of liturgical songs. Everybody who sings liturgical songs knows what liturgical songs is and also what it means. But when we start to talk about them, things become confused. We know too much and there are too many languages in which we can express what we think their meaning is. And what is worse, other people seem no to understand what we say and immediately reply that we may know a lot but not what they know. Then the discussion turns into a quarrel amongst people who know too much and cannot communicate what they know. A wise person may enter into the quarrel and say that communication about liturgical songs can only succeed when we sing together. Then we will sing together, confused and angry, because we now also know that the other people may sings very well, but do not understand what they are doing. This is what has been happening for decades in the Dutch churches. Perhaps we should be silent and start to look and listen very carefully to liturgical songs, while developing a language in which the songs themselves can speak, communicating what they have to say. The looking and listening will take much time and energy: there are no more easy answers. And the language will be so difficult that we are forced to be silent, waiting and hoping for a word to come. -back cover

Identifier: 9039005117

Status: Available

Annotation: Offers a fresh approach to the problem of expressive meaning in music. Beginning with an analysis of the slow movement of the Hammerklavier piano sonata, this book examines the roles of markedness, Classical topics, expressive genres, and musical tropes in fostering expressive interpretation at various levels of structure.

Identifier: 0253327423

Status: Available