Space in musical semiosis: an abductive theory of the musical composition process
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Abschlussarbeit Buch |
| Sprache: | English |
| Veröffentlicht: |
Imatra
International Semiotics Institute at Imatra [u.a.]
2009
|
| Schriftenreihe: | Approaches to musical semiotics
12 Acta semiotica Fennica 33 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XXV, 524 S. graph. Darst. 21 cm |
| ISBN: | 9789525431285 9525431282 |
Internformat
MARC
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| 100 | 1 | |a Ojala, Juha |e Verfasser |4 aut | |
| 245 | 1 | 0 | |a Space in musical semiosis |b an abductive theory of the musical composition process |c Juha Ojala |
| 264 | 1 | |a Imatra |b International Semiotics Institute at Imatra [u.a.] |c 2009 | |
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| 490 | 1 | |a Approaches to musical semiotics |v 12 | |
| 490 | 1 | |a Acta semiotica Fennica |v 33 | |
| 502 | |a Zugl.: Helsinki, Univ., Diss., 2009 | ||
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Datensatz im Suchindex
| _version_ | 1804141082656636928 |
|---|---|
| adam_text | Contents
Introduction
................................................................................................xi
About this inquiry
...............................................................................................xi
About musical spatiality
...................................................................................xiii
About the musical composition process
.........................................................xv
About semiotics
................................................................................................xviii
About this book
.................................................................................................xxii
Acknowledgements
..........................................................................................xxiv
Peircean naturalist pragmatism as foundation for inquiry
..........................
ι
i.i Naturalism and musicological research
............................................................4
i.z Elements of the present view on naturalist pragmatism
................................8
і.г.і
A realist assumption
......................................................................................9
1.1.2
Moderate materialism
..................................................................................10
1.1.3
Experience, mind, and subject
....................................................................13
1.1.4
Denial of dualism
.........................................................................................11
1.1.5
Conditional idealism fits in the naturalist framework
.........................14
1.1.6
Inquiry and pragmatism
.............................................................................19
1.3
Issues of esthetics and practics: towards semiotics
.......................................34
1.3.1
Aristotle on esthetic and
practic
...............................................................36
1.3.1
Charles Peirce on esthetics and practics
..................................................43
1.3.3
John
Dewey
on esthetic and artistic
........................................................47
1.3.4
A synthetic view of esdietic and
practic
...................................................55
1.4
The place of the current framework in philosophy
......................................71
1.5
Summary of the framework of inquiry
...........................................................76
Music and the musical composition process are mental processes
............79
2.1
The concept of music
..........................................................................................79
2.1.1
Of concepts
....................................................................................................79
2.1.2
On the concept of music
.............................................................................84
2.1
Semiosis and the process nature of music
.......................................................94
2.1.1
Music is real
...................................................................................................94
2.1.1
Music is communicative
............................................................................100
2.1.3
Music is representational
..........................................................................108
2.1.4
Music is useful
..............................................................................................116
2.2.5
Music is embodied
.....................................................................................127
2.2.6
Music is non-arbitrary
................................................................................131
2.2.7
Padilla
and
Tagg
on the concept of music
.............................................141
2.1.8
Eero
Tarasti,
existential semiotics, and music
.......................................148
2.3
Theories and models of composition
.............................................................156
2.3.1
A synoptic view of past theories and models of musical
composition
..........................................................................................166
1.3.1
Examples of psychological models or theories of musical
composition
...........................................................................................175
1.5.3
Requirements for a contemporary theory of the musical
composition process
...........................................................................189
2.4
Summary of the first premiss: music as a process of inquiry
.....................193
Mental processes are spatially embodied
.................................................197
3.1
The concept of space
.........................................................................................198
3.1.1 Absolute and relative conceptions of actual space
..............................101
3.1.1
Geometry of thought and spatial metaphor in cognition
..................111
3.1.3
A pragmatist conception of space
............................................................131
3.1
A semiotic
approach to mind
........................................................................148
3.2.1
Peirces theory ofphaneroscopic categories
.........................................148
3.2.1
Peirces theory of perception
....................................................................157
3.1.3
Peirces theory of the Sign
.........................................................................167
3.1.4
Määttänens
semiotic
models of cognition
............................................183
3.3
A Peircean view of mind embracing spatiality
............................................189
3.3.1
The
semiotic
triangle revisited
................................................................290
3.3.1
The Sign in semiosis
...................................................................................306
3.3.3
The spatial embodiment of the Sign
.......................................................318
3.4
Summary of the second premiss: the logical connection of semiosis
and space
..............................................................................................340
Music and musical composition process are spatially embodied
.............343
Space in music
-
music in space
.....................................................................345
.1 Studies on musical spatiality
....................................................................347
.1
Actual and phenomenal spatiality in music
..........................................354
.3
The quest for autonomous, intrinsic musical space
.............................
365
S f d
.4
Structures of sound spaces in music
b
4.
4.
4.
4
4.
p
About musical space and time
.................................................................393
4.1.6
Embodiment, metaphor and epistemology of musical space
...........405
4.1
Music as spatially embodied semiosis
..........................................................43°
4.1.1
The musical Sign
........................................................................................431
4.1.1
Composition as musical praxis and semiosis
........................................437
4.3
Summary of the inferred proposition: space and metaphor in
musical thought
..................................................................................448
Conclusions
..............................................................................................453
5.1
The study in retrospect
....................................................................................454
5.1
Aspects of future inquiry
................................................................................461
References
.................................................................................................................475
Index
..........................................................................................................509
|
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| isbn | 9789525431285 9525431282 |
| language | English |
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| physical | XXV, 524 S. graph. Darst. 21 cm |
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| series | Approaches to musical semiotics Acta semiotica Fennica |
| series2 | Approaches to musical semiotics Acta semiotica Fennica |
| spelling | Ojala, Juha Verfasser aut Space in musical semiosis an abductive theory of the musical composition process Juha Ojala Imatra International Semiotics Institute at Imatra [u.a.] 2009 XXV, 524 S. graph. Darst. 21 cm txt rdacontent n rdamedia nc rdacarrier Approaches to musical semiotics 12 Acta semiotica Fennica 33 Zugl.: Helsinki, Univ., Diss., 2009 Music--Semiotics Raum (DE-588)4048561-4 gnd rswk-swf Komposition Musik (DE-588)4133320-2 gnd rswk-swf Semiotik (DE-588)4054498-9 gnd rswk-swf (DE-588)4113937-9 Hochschulschrift gnd-content Komposition Musik (DE-588)4133320-2 s Semiotik (DE-588)4054498-9 s Raum (DE-588)4048561-4 s DE-604 Approaches to musical semiotics 12 (DE-604)BV017659000 12 Acta semiotica Fennica 33 (DE-604)BV009697238 33 Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018938957&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Ojala, Juha Space in musical semiosis an abductive theory of the musical composition process Approaches to musical semiotics Acta semiotica Fennica Music--Semiotics Raum (DE-588)4048561-4 gnd Komposition Musik (DE-588)4133320-2 gnd Semiotik (DE-588)4054498-9 gnd |
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| title | Space in musical semiosis an abductive theory of the musical composition process |
| title_auth | Space in musical semiosis an abductive theory of the musical composition process |
| title_exact_search | Space in musical semiosis an abductive theory of the musical composition process |
| title_full | Space in musical semiosis an abductive theory of the musical composition process Juha Ojala |
| title_fullStr | Space in musical semiosis an abductive theory of the musical composition process Juha Ojala |
| title_full_unstemmed | Space in musical semiosis an abductive theory of the musical composition process Juha Ojala |
| title_short | Space in musical semiosis |
| title_sort | space in musical semiosis an abductive theory of the musical composition process |
| title_sub | an abductive theory of the musical composition process |
| topic | Music--Semiotics Raum (DE-588)4048561-4 gnd Komposition Musik (DE-588)4133320-2 gnd Semiotik (DE-588)4054498-9 gnd |
| topic_facet | Music--Semiotics Raum Komposition Musik Semiotik Hochschulschrift |
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