Description
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.
Chapter
Chapter 2 Signs in music history, history of music semiotics
pp.：
24 – 35
2.1 Introduction
pp.：
35 – 35
2.2 Signs in music itself
pp.：
35 – 39
2.3 History of musical scholarship in the light of semiotics
pp.：
39 – 59
2.4 Main lines in the development of musical semiotics
pp.：
59 – 65
Chapter 3 Signs as acts and events: On musical situations
pp.：
65 – 73
3.1 Situation as communication and signification
pp.：
73 – 81
3.2 Situation as act and event
pp.：
81 – 84
3.3 Situations as intertextuality
pp.：
84 – 90
3.4 Articulation of situations
pp.：
90 – 93
Part two: Gender, biology, and transcendence
pp.：
93 – 97
Chapter 4 Metaphors of nature and organicism in music: A “biosemiotic” approach
pp.：
97 – 99
4.2 Sibelius and the idea of the “organic”
pp.：
99 – 112
4.1 On the musically organic
pp.：
99 – 99
4.3 Organic narrativity
pp.：
112 – 120
Chapter 5 The emancipation of the sign: On corporeal and gestural meanings in music
pp.：
120 – 125
Chapter 6 Body and transcendence in Chopin
pp.：
125 – 137
6.1 Are corporeal signs iconic?
pp.：
137 – 140
6.2 Are corporeal signs indexical?
pp.：
140 – 142
6.3 Analysis
pp.：
142 – 149
Part three: Social and musical practices
pp.：
149 – 163
Chapter 7 Voice and identity
pp.：
163 – 165
7.1 Voice and signification
pp.：
165 – 165
7.3 Transcendence
pp.：
169 – 170
7.4 Orality
pp.：
170 – 171
7.5 Singing as social identity
pp.：
171 – 172
7.6 National voice types
pp.：
172 – 175
7.7 Gender
pp.：
175 – 177
7.8 Education
pp.：
177 – 179
7.9 Empirical methods
pp.：
179 – 182
7.10 Conclusion
pp.：
182 – 184
Chapter 8 On the semiosis of musical improvisation: From Mastersingers to Bororo indians
pp.：
184 – 187
8.2 Improvisation as communication
pp.：
187 – 193
8.1 Musical improvisation and semiotics
pp.：
187 – 187
8.3 Improvisation as signification: A peircean view
pp.：
193 – 197
8.4 Improvisation as signification: A greimassian view
pp.：
197 – 202
8.5 Conclusion: Improvisation and existential semiotics
pp.：
202 – 204
References
pp.：
207 – 209
Name index
pp.：
209 – 227
Signs of Music
：A Guide to Musical Semiotics
( Approaches to Applied Semiotics AAS )
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