In this Book

  • Music, Analysis, Experience: New Perspectives in Musical Semiotics
  • Book
  • Costantino Maeder, Mark Reybrouck (eds)
  • 2015
  • Published by: Leuven University Press
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summary

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.

This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

Contributors: Paulo Chagas (University of California, Riverside), Isaac and Zelia Chueke (Universidade Federal do Paraná, OMF/Paris-Sorbonne), Maurizio Corbella (Università degli Studi di Milano), Ian Cross (University of Cambridge), Paulo F. de Castro (CESEM/Departamento de Ciências Musicais; FCSH Universidade Nova de Lisboa), Robert S. Hatten (University of Texas at Austin), David Huron (School of Music, Ohio State University), Jamie Liddle (The Open University), Gabriele Marino (University of Turin), Dario Martinelli (Kaunas University of Technology; International Semiotics Institute), Nicolas Marty (Université Paris-Sorbonne), Maarten Nellestijn (Utrecht University), Malgorzata Pawlowska (Academy of Music in Krakow), Mônica Pedrosa de Pádua (Federal University of Minas Gerais, UFMG), Piotr Podlipniak (Adam Mickiewicz University, Poznan), Rebecca Thumpston (Keele University), Mieczyslaw Tomaszewski (Academy of Music in Krakow), Lea Maria Lucas Wierød (Aarhus University), Lawrence M. Zbikowski (University of Chicago)

Table of Contents

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  1. Title Page, Copyright
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  1. Contents
  2. pp. 5-7
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  1. Preface
  2. Costantino Maeder, Mark Reybrouck
  3. pp. 9-16
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  1. Part One
  1. Music, Speech and Meaning in Interaction
  2. Ian Cross
  3. pp. 19-30
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  1. Capturing the Music: The Thin Line Between Mediation and Interference
  2. pp. 31-42
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  1. Performativity Through(out) Media: Analyzing Popular Music Performance in the Age of Intermediality
  2. Maurizio Corbella
  3. pp. 43-58
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  1. Part Two
  1. Reading a Work of Music from the Perspective of Integral Interpretation
  2. Mieczysław Tomaszewski
  3. pp. 61-82
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  1. La musique au second degré: on Gérard Genette’s Theory ofTranstextuality and itsMusical Relevance
  2. Paulo F. de Castro
  3. pp. 83-96
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  1. Semiotic Narrativization Processes
  2. Nicolas Marty
  3. pp. 97-114
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  1. Musical Understanding: Wittgenstein, Ethics, and Aesthetics
  2. Paulo C. Chagas
  3. pp. 115-134
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  1. Where to Draw the Line? Representation in Intermedial Song Analysis
  2. Lea Maria Lucas Wierød
  3. pp. 135-148
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  1. Part Three
  1. The Ability of Tonality Recognitionas One of Human-Specific Adaptations
  2. Piotr Podlipniak
  3. pp. 151-166
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  1. Musical Semiotics and Analogical Reference
  2. Lawrence M. Zbikowski
  3. pp. 167-184
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  1. The Other Semiotic Legacy of Charles Sanders Peirce: Ethology and Music-Related Emotion
  2. David Huron
  3. pp. 185-208
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  1. Part Four
  1. The Death of Klinghoffer:From Stage to Screen
  2. Maarten Nellestijn
  3. pp. 211-224
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  1. The Perception of Art Songs Through Image: A Semiotic Approach
  2. Mônica Pedrosa de Pádua
  3. pp. 225-238
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  1. “What Kind of Genre Do You Think We Are? ”Genre Theories, Genre Names and Classes within Music Intermedial Ecology
  2. Gabriele Marino
  3. pp. 239-254
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  1. Part Five
  1. A Story or Not a Story? Pascal Dusapin’s Opera Roméo & Juliette and New Ways of Musical Narratives
  2. Małgorzata Pawłowska
  3. pp. 257-276
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  1. Authorship, Narrativity and Ideology: The Case of Lennon-McCartney
  2. Dario Martinelli
  3. pp. 277-300
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  1. The Sublime as a Topic in Beethoven’s Late Piano Sonatas
  2. Jamie Liddle
  3. pp. 301-314
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  1. Melodic Forces and Agential Energies: An Integrative Approach to the Analysis and Expressive Interpretation of Tonal Melodies
  2. Robert S. Hatten
  3. pp. 315-330
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  1. The Embodiment of Yearning: Towards a Tripartite Theory of Musical Agency
  2. Rebecca Thumpston
  3. pp. 331-348
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  1. Editors
  2. pp. 349-350
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  1. Contributors
  2. pp. 351-356
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