The organic principle in music analysis: a semiotic approach
Ei saatavilla
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| Main Author: | |
|---|---|
| Format: | Thesis Book |
| Language: | English |
| Published: |
Imatra [u.a.]
The International Semiotics Institute [u.a.]
2013
|
| Series: | Approaches to musical semiotics
16 Acta semiotica Fennica 42 |
| Subjects: | |
| Online Access: | Volltext Volltext Inhaltsverzeichnis |
| Summary: | Ei saatavilla |
| Physical Description: | XVI, 528 S. Ill., Notenbeisp. |
| ISBN: | 9789525431384 952543138x |
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| 490 | 1 | |a Approaches to musical semiotics |v 16 | |
| 490 | 1 | |a Acta semiotica Fennica |v 42 | |
| 502 | |a Zugl.: Helsinki, Univ., Diss., 2013 | ||
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| adam_text | CONTENTS
Acknowledgments
.............................................................................................xiii
Introduction
........................................................................................................./
1.
Homeostasis
:
searching for a human musical principle
...........3
1.1. Origin and basic meaning of Cannon s term homeostasis
. 3
1.1.1.
Homeostasis vs. equilibrium
.............................................................4
I.I.Z. Open and closed systems
...................................................................6
1.1.3.
Homeostasis in social and artificial systems
...................................7
1.1.4.
Control mechanisms and homeostatic imbalance
........................9
1.2.
Cannon s social application of homeostasis:
Some critical remarks
......................................................10
1.2.1.
Biological situations which can be easily transposed
into a social field
.................................................................................11
1.2.2.
The distributional system as the social fluid matrix
...................13
1.2.3.
The relationships between the whole and its parts, and
automatic and voluntary choices:
the issue of human freedom
.............................................................14
і.г.4.
Monotony as a social and artistic matter
.......................................17
1.2.5.
Cannon s optimistic answers
............................................................18
1.3.
Homeostasis in the light of
Bertalanfïy s
general
system theory
....................................................................18
1.3.1.
Conceptual and terminological
différences
with
Cannons approach
.............................................................................19
1.4.
Homeostasis and communication
....................................26
1.4.1.
Some issues of communication: binary and ternary
articulations
........................................................................................
irj
1.4.2.
Homeostasis as an elementary communicational model?
.........30
1.4.3.
Intelligence and communication
.....................................................3$
1.4.4.
Cannon s perspective on homeostasis and communication
......38
1.5.
Organisms as living systems
..............................................39
1.5.1.
On some ambivalent terms
..............................................................39
viii
—
The Organic
Principle in Music Analysis
1.5.2.
The capabilities of living organisms:
a tripartite musical application
......................................................40
1.6.
An overview of musical
organicism
..................................44
1.6.1.
Meanings of the term nature
........................................................44
1.6.2.
On the so-called natural similarity
...............................................46
1.6.3.
Organicism
and kinetic energy
.......................................................47
1.6.4.
Semantic ambiguity of organic/inorganic
...................................50
1.6.5.
Teleology...
..........................................................................................50
1.6.6.
Natural sounding
................................................................................52
1.6.7.
Grammar vs.
design/gestalt,
organic vs. inorganic
......................53
1.6.8.
Are mechanical repetitions inorganic?
..........................................58
1.6.9.
Telos
and goal-direction
....................................................................61
1.6.10.
Organicky
with respect to the object (text itself)
and/or the subject (production and/or reception)
....................63
1.6.11. Organic as a whole
............................................................................64
1.6.12. A brief conclusion
.............................................................................64
1.7.
Towards an expanded musical organic model
...................65
1.7.1.
Transcendental principles
................................................................65
1.7.2.
Empirical consequences
.................................................................„70
2.
Melody as a system
...............................................................75
2.1.
Physical system
.................................................................75
2.1.1.
Sound waves as a system
...................................................................75
2.1.2.
Melody as a flux of organized vibrations which flows
through air in a given space and time
............................................78
2.1.3.
Homeostasis as a resistance to vibrations in the
environment and bodies as physical systems
................................79
2.1.4.
Homeostasis in a melody as a physical system
.............................79
2.1.5.
Two approaches to melodic energy
...............................................80
2.2.
Towards a symbolic melodic system
.................................80
2.2.1.
Bodily production of sounds: the birth of inner
musical space
.......................................................................................80
2.2.2.
Bodily reception of sounds: the birth of external
musical space
.......................................................................................89
2.2.3.
Levels of homeostasis in melodic processes
..................................91
2.3.
Melody as a syntactic system
............................................93
2.3.0.
Methodological and terminological issues
...................................93
ix — Contents
2.3.
ι.
A transcendental
synchronie
approach: towards a
fundamental grammar (stratum o)
................................................95
2.3.1.1.
Melodic principles
..................................................................................
2.3.1.2.
Some remarks on the use of the term fundamental grammar ....
95
2.3.2.
A cultural approach: melody as a parameter-
sys
tern
.................105
2.3.2.1.
Melodic behaviors in Western tradition:
a synchronie
approach to the functional-syntax of melody
as general parameter-system (stratum
1.)....................................106
2.3.2.2.
Specific parameter-systems (stratum
2.):
between conceptual syntax and semantics
..................................119
2.3.2.3.
Syntagmatic strategies: discursive/narrative syntax
(stratum
3.)........................................................................................120
2.3.2.4.
Syntax in style-parameter systems (stratum
4.)..........................123
2.3.3.
An individual approach: melody as a text-system
(stratum
5.).........................................................................................125
2.3.4.
Musical Time in the light of homeostasis
...................................126
2.4·
Melody and semantics
.....................................................152
2.4.1.
Melodic enunciate-signs
..................................................................152
2.4.1.1.
Typologies of meaning
....................................................................152
2.4.1.2.
Typologies of association
...............................................................154
2.4.1.3.
Typologies of
semiotic
relation between expression
and content
........................................................................................155
2.4.1.4.
Typologies of
semiotic
use of a musical-sign
...............................156
2.4.2.
External meanings as exteroceptive relations
..............................156
2.4.2.1.
The affective meanings
....................................................................156
2.4.2.2.
The semantics of musical traits
......................................................158
2.4.3.
Т
-he notion of conformity in musical meaning
...........................163
2.4.3.1.
Music as a non-semiotic-system: conformity between
units (of the two planes) not articulable into figures
...............164
2.4.3.2.
Music as a semi-symbolic system: conformity between
binary categories of the two planes
..............................................167
2.4.3.3.
Music as a semiotic-system: non-conformity between
figures of the units of the two planes
...........................................170
2.4.4.
Syntax and Non-Self-Referential Meaning
.................................173
2.4.4.1.
Denotation and connotation
.........................................................173
2.4.4.2.
Syntactic expression and content
.................................................177
2.4.4.3.
Syntax as
a semiotic
system
............................................................186
2.4.4.4.
Remarks on linguistic analysis and articulation:
autonomous and dependent meaningful units
........................200
2.4.4.5.
Chopin
s
melody
..............................................................................210
χ
—
The Organic Principle in Music Analysis
г.
4.4.6.
Melodic system as a third-articulation code
..............................243
2.4.5.
Theory of mother-chords and the origin of Western
musical meaning: a diachronic approach
..................................246
2.4.5.1.
Melodic gestures and modal space
...............................................248
2.4.5.1.1.
Archaic modality: restricted spaces and gestures
(around the dominant chord)
.......................................................248
2.4.5.1.2.
Evolved modality: polarized space and oriented
gestures (repercussio/dominant vs. finalis/tonic)
......................252
2.4.5.2.
Origin of curve typology and functions
......................................253
3.
Tonal harmony as a system
..................................................259
3.1.
Harmonic morphology and syntax
..................................259
3.1.1.
Consonant chord morphology and intra-chordal hierarchy....
259
3.1.2.
Harmonic syntax and inter-chordal hierarchy
..........................260
3.1.2.1.
Harmonic centripetalism
...............................................................260
3.1.2.2.
Harmonic Model String
(HMS)
...................................................261
3.1.2.2.1.
Cadentiality and cadences
.............................................................263
3.1.2.3.
Homeostasis and syntactic harmonic curves
.............................266
3.1.2.3.1.
Harmonic significant and distinctive units
................................266
3.1.2.3.2.
Text-systems centrifugal strategies, and parameter-rhetoric.
...268
3.1.3.
Harmonic space: body vs. mind
...................................................269
3.1.3.1.
Types of harmonic space and related homeostasis
....................270
3.1.3.1.1.
Intra-chordal space (level
3)..........................................................270
3.1.3.1.2.
Inter-chordal space, or regional space (level
2)...........................271
3.1.3.1.3.
General harmonic space, or inter-regional space (level
1).......272
3.1.3.2.
Different degrees of homeostasis
..................................................273
3.1.3.2.1.
Types of harmonic significant units and related meanings
.....274
3.1.3.2.2.
Regional space: homeostasis (system) vs. stabilization
(process)
............................................................................................275
3.1.3.2.3.
Regional stabilization
.....................................................................276
3.1.4.
Virtual harmonic space and its properties
..................................278
3.1.4.1.
Minor regional spaces
.....................................................................279
3.1.4.2.
Relations of third through harmonic space
................................280
3.1.4.2.1. Space gravitation
..............................................................................280
3.1.4.2.2.
Relations between major and minor regions
..............................281
3.1.4.2.3.
Distance and modulation
..............................................................282
3.1.4.2.4.
Space and chords combinations
....................................................283
3.1.4.2.5.
Non-ambiguity of harmonic space
...............................................283
3.2.
Harmonic theories in comparison
...................................285
3.2.1
Schenker,
or rather, a denied
organicism
...................................285
xi — Contents
3.2.2.
Ríemann
and
de la Motte,
or rather, a denied functionalism
...297
3.2.3.
Delli
Pizzi s system
............................................................................319
3.2.4.
Tonal
coherence
................................................................................335
3.3.
Applications
in analysis and semiotics
............................346
3.3.1.
Structures,
gestures and meanings from
modal
to
tonal
western
music: a reflection on a case of transitional signs
.......
34e
3.3.2.
Pertinence
and competence levels in understanding/
misunderstanding tonal music
......................................................382
3.3.3.
Epistemological conclusions on harmony as a system
.............390
4.
Homeostasis and musical systems in the light of
Tarastťs
existential semiotics
..............................................395
4.1.
Looking for existential musical subject(s)
........................395
4.1.1.
Levels of modalization in existential and transcendental
analysis: the matter of being-in-self
..............................................395
4.1.2.
The notion of transcendence in music
........................................410
4.1.3.
A diachronic approach to the being-for-self: towards an
individual musical subject
..............................................................417
4.1.4.
Inner intentionality and musical subjects
...................................425
4.1.5.
Organic models and musical subjects
......................................... 430
4.1.5.1.
Aristotle s living functions and music: linear hierarchy
...........431
4.1.5.2.
Beyond linear models: interactive hierarchy and kinds of
finality
................................................................................................432
4.1.5.3.
Towards a musical stratified multifunctional system
..............434
4.1.5.4. Ich-Ton
and the text-system
........................................................441
4.2.
Two existential analyses
.................................................442
4.2.1.
Chopin s Waltz Op.
64
op.
2:
Looking for Being-in-Myself....
442
4.2.2.
Tonal Continuity/Discontinuity in Wagner s Harmony:
an Analysis of
Träume
from Wesendonk-L
ieder
..................454
5.
Music through time:
a dialogue between the future and the past
..........................486
5.1.
Traditions, variants, and treasons in performing arts.
Towards a dynamic notion of authenticity and re-definition
of sense. Examples from and remarks on Rossini s
Barbiere.........................................................................486
5.1.0.
Premises
............................................................................................486
5.1.1. Barbiere s
problematic success
......................................................486
xii —
lhe
Organie
Principle in Music Analysis
5.1.2.
Which is
Barbieres
text?
...............................................................489
5.1.3.
Theoretical issues
.............................................................................491
5.1.4.
The matter of subject(s) in Opera: what is
Barbieres will ?.... 498
5.1.5. Barbiere
s
success and philological negation
..............................500
5.2.
Contemporary musical communication:
Some critical remarks
....................................................504
Appendix: Organic models applied to Italian opera
...................................511
References
...................................................................................................
$іб
Index of names and musical works
............................................................$24
|
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| indexdate | 2024-07-10T01:10:38Z |
| institution | BVB |
| isbn | 9789525431384 952543138x |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-027459439 |
| oclc_num | 898867533 |
| open_access_boolean | 1 |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | XVI, 528 S. Ill., Notenbeisp. |
| psigel | ebook |
| publishDate | 2013 |
| publishDateSearch | 2013 |
| publishDateSort | 2013 |
| publisher | The International Semiotics Institute [u.a.] |
| record_format | marc |
| series | Approaches to musical semiotics Acta semiotica Fennica |
| series2 | Approaches to musical semiotics Acta semiotica Fennica |
| spelling | Rosato, Paolo 1959- Verfasser (DE-588)1053315341 aut The organic principle in music analysis a semiotic approach by Paolo Rosato Imatra [u.a.] The International Semiotics Institute [u.a.] 2013 XVI, 528 S. Ill., Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Approaches to musical semiotics 16 Acta semiotica Fennica 42 Zugl.: Helsinki, Univ., Diss., 2013 Ei saatavilla musicology Das Organische (DE-588)4244516-4 gnd rswk-swf Musikalische Semiotik (DE-588)4195308-3 gnd rswk-swf Systemtheorie (DE-588)4058812-9 gnd rswk-swf (DE-588)4113937-9 Hochschulschrift gnd-content Musikalische Semiotik (DE-588)4195308-3 s Systemtheorie (DE-588)4058812-9 s Das Organische (DE-588)4244516-4 s DE-604 Erscheint auch als Online-Ausgabe Approaches to musical semiotics 16 (DE-604)BV017659000 16 Acta semiotica Fennica 42 (DE-604)BV009697238 42 http://hdl.handle.net/10138/42161 Verlag kostenfrei Volltext http://urn.fi/URN:ISBN:952%205431%2038-X Resolving-System kostenfrei Volltext Digitalisierung BSB Muenchen - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027459439&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Rosato, Paolo 1959- The organic principle in music analysis a semiotic approach Approaches to musical semiotics Acta semiotica Fennica musicology Das Organische (DE-588)4244516-4 gnd Musikalische Semiotik (DE-588)4195308-3 gnd Systemtheorie (DE-588)4058812-9 gnd |
| subject_GND | (DE-588)4244516-4 (DE-588)4195308-3 (DE-588)4058812-9 (DE-588)4113937-9 |
| title | The organic principle in music analysis a semiotic approach |
| title_auth | The organic principle in music analysis a semiotic approach |
| title_exact_search | The organic principle in music analysis a semiotic approach |
| title_full | The organic principle in music analysis a semiotic approach by Paolo Rosato |
| title_fullStr | The organic principle in music analysis a semiotic approach by Paolo Rosato |
| title_full_unstemmed | The organic principle in music analysis a semiotic approach by Paolo Rosato |
| title_short | The organic principle in music analysis |
| title_sort | the organic principle in music analysis a semiotic approach |
| title_sub | a semiotic approach |
| topic | musicology Das Organische (DE-588)4244516-4 gnd Musikalische Semiotik (DE-588)4195308-3 gnd Systemtheorie (DE-588)4058812-9 gnd |
| topic_facet | musicology Das Organische Musikalische Semiotik Systemtheorie Hochschulschrift |
| url | http://hdl.handle.net/10138/42161 http://urn.fi/URN:ISBN:952%205431%2038-X http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027459439&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV017659000 (DE-604)BV009697238 |
| work_keys_str_mv | AT rosatopaolo theorganicprincipleinmusicanalysisasemioticapproach |