Tools

LEADER 03516cam 2200421 a 4500

001 ocm49699381;

003 OCoLC;

005 20141212170639.0;

008 020419s2002 nyu b 001 0 eng c;

010 a| 2002070066;

020 a| 3110172267 (hc. : alk. paper);

020 a| 3110172275 (pbk. : alk. paper);

035 a| (Sirsi) o51574145;

035 a| (OCoLC)51574145;

040 a| PULc| PULd| UtOrBLW;

042 a| pcc;

049 a| EREM;

050 00 a| ML3845b| .T348 2002;

082 00 a| 780/.1/42| 21;

100 1 a| Tarasti, Eero.=| ^A356739;

245 10 a| Signs of music :b| a guide to musical semiotics /c| by Eero Tarasti.;

260 a| Hawthorne, NY :b| Mouton de Gruyter,c| 2002.;

300 a| viii, 224 pages :b| illustrations, music ;c| 24 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Includes bibliographical references and indexes.;

505 0 a| Music as sign -- Is music sign? -- Music as semiotic: A historical perspective -- Peirce, Greimas, and music-semiotic analysis -- Understanding / misunderstanding musical signs -- Theses on understanding / misunderstanding musical signs -- Theses on processes of understanding -- Signs in music history, history of music semiotics -- Signs in music itself -- Romanticism -- Modernism -- History of musical scholarship in the light of semiotics -- Main lines in the development of musical semiotics -- Signs as acts and events: On musical situations -- Situation as communication and signification -- Situation as act and event -- Situations as intertextuality -- Articulation of situations -- Gender, biology, and transcendence -- Metaphors of nature and organicism in music: A "biosemiotic" approach -- On the musically organic -- Sibelius and the idea of the "organic" -- Organic narrativity -- The emancipation of the sign: On corporeal and gestural meanings in music -- Body and transcendence in Chopin -- Are corporeal signs iconic? -- Are corporeal signs indexical? -- Analysis -- Social and musical practices -- Voice and identity -- Voice and signification -- Text -- Transcendence -- Orality -- Singing as social identity -- National voice types -- Gender -- Education -- Empirical methods -- On the semiosis of musical improvisation: From Mastersingers to Bororo indians -- Musical improvisation and semiotics -- Improvisation as communication -- Improvisation as signification: A peircean view.;

520 a| 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.;

650 0 a| Musicx| Semiotics.=| ^A271201;

650 0 a| Musicx| Philosophy and aesthetics.=| ^A18895;

650 0 a| Symbolism in music.=| ^A40795;

994 a| X0b| ERE;

910 a| PromptCat;

980 a| 2003-05-21b| 41.95d| 2.79e| 39.85f| 208577;

596 a| 3;

998 a| 910200;

999 a| ML3845 .T348 2002w| LCc| 1i| 30372011891907d| 7/17/2014e| 4/27/2010f| 4/25/2024g| 4l| MSTm| JMUSICn| 5p| $39.85r| Ys| Yt| MGESBKu| 6/2/2003x| BOOKz| MCIRCo| .STAFF. changed title ctrl and OCLC holdings to 49699381, enhanced, 1/24/24 -jjab;

Signs of music : a guide to musical semiotics / by Eero Tarasti.

Author/creator	Tarasti, Eero
Format	Book
Publication Info	Hawthorne, NY : Mouton de Gruyter, 2002.
Description	viii, 224 pages : illustrations, music ; 24 cm
Subjects	Music--Semiotics. Music--Philosophy and aesthetics. Symbolism in music.

Contents	Music as sign -- Is music sign? -- Music as semiotic: A historical perspective -- Peirce, Greimas, and music-semiotic analysis -- Understanding / misunderstanding musical signs -- Theses on understanding / misunderstanding musical signs -- Theses on processes of understanding -- Signs in music history, history of music semiotics -- Signs in music itself -- Romanticism -- Modernism -- History of musical scholarship in the light of semiotics -- Main lines in the development of musical semiotics -- Signs as acts and events: On musical situations -- Situation as communication and signification -- Situation as act and event -- Situations as intertextuality -- Articulation of situations -- Gender, biology, and transcendence -- Metaphors of nature and organicism in music: A "biosemiotic" approach -- On the musically organic -- Sibelius and the idea of the "organic" -- Organic narrativity -- The emancipation of the sign: On corporeal and gestural meanings in music -- Body and transcendence in Chopin -- Are corporeal signs iconic? -- Are corporeal signs indexical? -- Analysis -- Social and musical practices -- Voice and identity -- Voice and signification -- Text -- Transcendence -- Orality -- Singing as social identity -- National voice types -- Gender -- Education -- Empirical methods -- On the semiosis of musical improvisation: From Mastersingers to Bororo indians -- Musical improvisation and semiotics -- Improvisation as communication -- Improvisation as signification: A peircean view.
Abstract	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.
Bibliography note	Includes bibliographical references and indexes.
LCCN	2002070066
ISBN	3110172267 (hc. : alk. paper)
ISBN	3110172275 (pbk. : alk. paper)

Signs of music : a guide to musical semiotics / by Eero Tarasti.

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