Music, Analysis, Experience: New Perspectives in Musical SemioticsCostantino Maeder, Mark Reybrouck Leuven University Press, 7 дек. 2015 г. - Всего страниц: 356 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.ContributorsPaulo 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), Małgorzata Pawłowska (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), Mieczysław Tomaszewski (Academy of Music in Krakow), Lea Maria Lucas Wierød (Aarhus University), Lawrence M. Zbikowski (University of Chicago) |
Содержание
Preface | 9 |
e in Line Between Mediation | 31 |
Part Two Representation Interpretation and Meaning | 59 |
on Gérard Genettes eory | 83 |
Semiotic Narrativization Processes | 97 |
Wittgenstein Ethics and Aesthetics | 115 |
Where to Draw the Line? Representation in Intermedial Song Analysis | 135 |
Part ree Experience Cognition and Aect | 150 |
A Semiotic Approach | 225 |
What Kind of Genre Do You ink We Are? Genre eories | 239 |
Part Five Analysis and Beyond | 255 |
e Case of LennonMcCartney | 277 |
e Sublime as a Topic in Beethovens Late Piano Sonatas | 301 |
An Integrative Approach | 315 |
Towards a Tripartite eory | 331 |
Editors | 349 |
Musical Semiotics and Analogical Reference | 167 |
Part Four Intermediality and Transdisciplinarity | 209 |
Часто встречающиеся слова и выражения
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