Thematische Bibliographien / Music – Semiotics

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Auswahl der wissenschaftlichen Literatur zum Thema „Music – Semiotics“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 19. Februar 2023

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Zeitschriftenartikel zum Thema "Music – Semiotics"

Tarasti, Eero. „Musical Semiotics – a Discipline, its History and Theories, Past and Present1“. Recherches sémiotiques 36, Nr. 3 (20.09.2018): 19–51. http://dx.doi.org/10.7202/1051395ar.

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Musical semiotics begins from the premise that music is a signifying phenomenon. However, the field itself has developed according to two distinct paths. The first one starts by considering music and its history. In the study of classical music, for instance, it will begin by considering rhetoric and affect during the Baroque period and then move to consider the topics of the Classical style or the interartistic aspects of Romanticism. The other path consists instead of applying general semiotic theories to music. A more proper approach, I believe, lies somewhere in the middle : it ought to configure general semiotic concepts to the special or historical problems of music. In this essay I give examples from my own work borrowing methodology from the Paris School of Semiotics developed by Greimas and from my own Existential Semiotics model.

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Abdullah, Farid. „SEMIOTIKA = ILMU ATAU METODE : TELAAH BUKU ' HANDBOOK OF SEMIOTIK', WINFRIED NOTH, 1995“. Jurnal Dimensi Seni Rupa dan Desain 8, Nr. 2 (01.09.2011): 1–10. http://dx.doi.org/10.25105/dim.v8i2.965.

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AbstractThis paper is about Winfried Noth book, title " Handbook of Semitics," 1995. A handbook with ambitious objevtives of dealing with a broad field specturm of research, ranging from Advertising, Architecture, Comic, Photography, Music, Visual Communication , to Zoosemiotics. Aims to this book, as the author describe, s adventurous goal of a topographical survey, of some main areas of theoritical and applied semiotics. In this book, the approach to semiotic adopted is basically descriptive and pluratistic. The history aspect, the present state of the art, intends to be a systematic, comprehensive, and up to date. To understand this handbook, we must be a critical reader and at the end we can draw our own critical conclusion AbstrakTulisan ini adalah ulasan terhadap buku Winfries Noth yang berjudul " Handbook of Semiotics" terbit tahun 1995. Sebagai buku pegangan tentang semiotika, buku ini memiliki rentang kajian yang sangat ambisius, dengan cakupan bidang yang dikaji dari periklanan, arsitektur, komik, fotografi, musik, komunikasi visual, hingga tanda yang dikirimkan oleh hewan. Tujuan dari buku ini seperti yang diuraikan penulisnya, semacam pemetaan dalam semiotika teoritik dan terapan. Pada buku ini ,pendekatan semiotik yang dipakai adalah deskriptif dan pluratistik. Aspek sejarah seni, berusaha disusun secara sistematis, menyeruluh, dan kekinian. Untuk memahami buku pegangan ini,sebagai pembaca kita harus meletakakan diri sebagai pembaca yang kritisdan akhirnya kita dapat memperoleh kesimpulan yang kritis pula

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Tomasevic, Katarina. „Dragutin Gostuski and the semiotics of music“. Muzikologija, Nr. 22 (2017): 177–97. http://dx.doi.org/10.2298/muz1722177t.

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The main goals of this article, devoted to the contribution of the prominent Serbian musicologist, composer and aesthetician Dragutin Gostuski (1923-1998) to the semiotics of music, are the following: 1) to show the evolution of semiotic ideas in Gostuski?s work; 2) to reconstruct the circumstances under which preparations for the First International Colloquium on the Semiotics of Music took place; and 3) to encourage new research that would re-examine Gostuski?s major theoretical opus in the historical context of the discipline.

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Romero, Brenda M. „Musical Semiotics as a Tool for the Social Study of Music. By Óscar Hernández Salgar. Translated by Brenda M. Romero.“ Ethnomusicology Translations, Nr. 2 (01.07.2016): 1–33. http://dx.doi.org/10.14434/emt.v0i2.22335.

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Recent studies on musical signification have been characterized by an apparently insurmountable gap between disciplines that focus on the musical text as sound (music theory, musicology), those that focus on the hearing subject (cognitive sciences, psychology of music), and those that focus on social discourses about music (ethnomusicology, anthropology, sociology). This article argues that the most recent theoretical advances in music semiotics provide means to overcome this gap. After a brief examination of some key concepts in music semiotics, the author identifies three approaches to this problem: the semiotic-hermeneutic approach, the cognitive-embodied approach, and the social-political approach. This classification allows him to introduce a brief methodological proposal for the study of musical signification from different academic perspectives.Originally published in Spanish in Cuadernos de Música, Artes Visuales, y Artes Escénicas 7, no. 1 (January 2011):39-77.

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HOOPER, GILES. „A Sign of the Times: Semiotics in Anglo-American Musicology“. Twentieth-Century Music 9, Nr. 1-2 (März 2012): 161–76. http://dx.doi.org/10.1017/s1478572212000242.

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AbstractThis article provides a critical account of the appropriation of semiotics in Anglo-American musicology, its theoretical and discursive foundations, and its impact on the discipline in the period from the mid-1970s to the present. Starting out from the work of Jean-Jacques Nattiez and Philip Tagg in the 1970s, it traces two principal approaches in music semiotics, here termed the ‘structural–analytical’ and the ‘semantic–interpretative’, which draw in significant measure on, respectively, the Saussurean and Peircean legacies. Both differences of musicological tradition and the wider state of the discipline have a part to play in explaining why semiotics never established itself as a discrete and distinctive subfield in the English-speaking world in the way that it did in continental Europe. But with the increasing currency of, among other concerns, topic theory, theories of emotion and affect, and studies of musical gesture and metaphor, it might be argued that semiotics – or, rather, an interdisciplinary aggregation of approaches that might be termed ‘post-semiotic’ – has never had a stronger presence in anglophone musicology than at the present time.

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Rozin, Vadim Markovich. „Semiotics as a philosophical and methodological, natural science and mathematical discipline (main stages of development and perspective)“. Философия и культура, Nr. 6 (Juni 2022): 66–81. http://dx.doi.org/10.7256/2454-0757.2022.6.38261.

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The article examines the history of the development of the ideas of semiotics, from the works of St. Augustine to the present. The author shares the semiotic approach, which, judging by the literature, was formulated by Augustine, and semiotics as a scientific discipline, and in two versions, as an analogue of mathematics and natural science (we are talking about the "second nature", which is studied in the humanities and social sciences). The characteristic of the semiotic approach presented by Augustine in the scheme is given, which, the author shows, can be extended to various humanitarian objects (this is specifically demonstrated with respect to music). Based on the semiotic approach and classifications of signs, various variants of semiotics as a science were created in the XIX and XX centuries. The difference of scientific semiotics is explained: semiotics solved different problems and tasks, semiotically comprehended different subject areas, proceeded from a different understanding of science. Nevertheless, in all variants of semiotics, relations between the components of the sign were established. The semiotics reform project proposed by G.P. Shchedrovitsky is considered, and what came of it (another semiotics, and not the organization of different scientific semiotics on a single basis of the theory of activity). Based on the analysis of two cases (the semiotic analysis of the metaphor in the work of Meir Shalev "Esav" and the sculpture of Aphrodite Praxiteles), the author outlines another version of semiotics, which he calls "expressionism". Although the methodology proposed by him allows analyzing and comprehending a fairly wide range of expressions and works of art, the author suggests not to consider it universal.

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Crnjanski, Nataša. „Is that a new language coming?“ Rasprave Instituta za hrvatski jezik i jezikoslovlje 44, Nr. 2 (2018): 373–84. http://dx.doi.org/10.31724/rihjj.44.2.2.

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Music semiotics is a branch of music theory that has been particularly developing since the 1960s. As semiotics moved from general linguistics, structuralism and theory of communication to cognitive and psychological linguistics, as sources of understanding music cognition – that is, as it moved from “hard” to “soft” semiotics as Agawu calls them (1999: 154) – its vocabulary became strongly metaphoric and complex. At the same time, there was no strict convention concerning the usage of the vocabulary in question. In this paper, I will focus on some important interrelated issues of music semiotics vocabulary, such as the concept of meaning, and all rhetorical variations regarding this term in music. Special attention will be given to explanation of terminological issues of the two most prominent “languages” of music semiotics, that of Robert Hatten and Eero Tarasti.

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Leman, Marc, und Raymond Monelle. „Linguistics and Semiotics in Music“. Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap 51 (1997): 213. http://dx.doi.org/10.2307/3687197.

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Hatten, Robert S., und Raymond Monelle. „Linguistics and Semiotics in Music“. Notes 50, Nr. 3 (März 1994): 1002. http://dx.doi.org/10.2307/898579.

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Amalia, Anindita Fikri, Nurdien Harry Kristanto und Sukarjo Waluyo. „Semiotika Nonverbal dalam Musik Video “Azza” Karya Rhoma Irama (Kajian Semiotika Roland Barthes)“. Diglosia: Jurnal Kajian Bahasa, Sastra, dan Pengajarannya 5, Nr. 4 (01.11.2022): 731–48. http://dx.doi.org/10.30872/diglosia.v5i4.494.

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This study aims to describe non-verbal semiotics and its relation to Roland Barthes' semiotics, namely connotation and denotation. This research with the object of the study of the music video "Azza" by Rhoma Irama uses qualitative research methods to find non-verbal semiotics contained in the object of study. The results of this study, namely in the music video "Azza" by Rhoma Irama, there are seven body signs, namely (a) signals; (b) facial expressions; (c) eye contact; (d) body language; (e) touch; (f) cue; and (g) dance. It is also related to Roland Bathes' semiotics. Signs expressed in the music video have connotative and denotative meanings that the singer wants to convey through his music and videos. The connotative meaning in the music video "Azza", sung by Rhoma Irama, can be seen in the scenes glorifying God's power.

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Dissertationen zum Thema "Music – Semiotics"

Curry, Ben. „Reading conventions, interpreting habits : Peircian semiotics in music“. Thesis, Cardiff University, 2011. http://orca.cf.ac.uk/54429/.

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The influence of Peircian semiotics on the study of music has grown during the last two decades due to the recognition of Robert Hatten's achievements, a major study by Naomi Cumming, the prolific final years of Raymond Monelle and the continued success of Eero Tarasti's work with the International Association of Semiotic Studies. Peirce's thought is extraordinarily rich and rigorous but this thesis identifies a tendency amongst musicologists deploying Peircian thought to reinscribe a number of ideological convictions. In broad terms these convictions can be described as the reification and legitimization of a body of music, and more specifically as an attempt to stabilize musical meanings whilst locating them within a 'music-in-itself. It is in this sense that Peircian semiotics has been used to resist developments in popular and new musicologies. The role of Peirce's theory in this discourse needs careful re-examination. The work of Robert Hatten in its search for meaning through and around the contextual (or intertextual) relations of a 'work' represents the most successful application, to date, of Peircian semiotics to music. But Hatten's emphasis upon composers, structure and stylistic contexts, and his relative neglect of listeners, subjectivity and social forces renders his project incomplete. Through a detailed explanation of some of the central insights offered by Peirce's philosophical project this thesis develops a theory of musical meaning which has listening processes and the formation of identity/subjectivity at its centre. A key tool in developing this theory concerns the dimensions of time and their coordination with Peirce's universal categories. The possibility of informing and developing the close-reading practices that still dominate the tradition of musical analysis will be explored through a discussion and analysis of the Allegro of Mozart's 'Prague' Symphony in the light of the theories developed in earlier chapters, with particular reference to Peirce's concept of valency.

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Dougherty, William Patrick. „An Examination of Semiotics in Musical Analysis: The Neapolitan Complex in Beethoven's Op.131“. The Ohio State University, 1985. http://catalog.hathitrust.org/api/volumes/oclc/23645007.html.

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Kannisto, Viktor. „Varifrån får jag allt? : En självstudie i bruket av tecken i komposition“. Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-41067.

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I denna studie utforskas komposition ur ett semiotiskt perspektiv, och hur olika ”tecken” används i komposition för att förmedla något. Studiens syfte är att utforska semiotiska tecken vid komponerande av ett stycke musik, och studiens forskningsfrågor är: Vilka semiotiska tecken använder jag mig av när jag komponerar programmusik? Hur använder jag mig av dessa tecken i min komposition? Metoden som använts är ljudinspelningar av den komponerade musiken samt mina högt uttalade reflektioner över det som sker. Resultatet visar att jag som kompositör använder mig av tre olika teckentyper, indexikala, symboliska och affektionella tecken, för att förmedla musikens innehåll. Resultatdelen visar också att jag använder mig av varierande grad av definierad orkestrering för att förmedla dessa tecken med varierande tydlighet. Slutligen diskuteras dessa teckens egenskaper och funktion.
This study focuses on composition from a semiotic perspective, and how different “signs” are used in compositions to mediate the music’s content. The purpose is to explore the use of semiotic signs in a composition, and the research questions are: Which semiotic signs do I use in this specific composition? And how do I use these signs? The method consists of audio recordings of the composed music, and of my expressed thoughts and feelings. The result shows that I use three different kinds of signs: indexical, symbolic and affectional signs, in purpose to mediate the music’s content. Furthermore, the result shows that I use defined orchestration in varying degree to mediate these signs in purpose to obtain varied clarity. Finally the quality and the functions of these signs are discussed.

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McGuire, Meghan S. „Covering Music: Tracing the Semiotics of Beatles'Album Covers Through the Cultural Circuit“. Bowling Green State University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1112552888.

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McGuire, Meghan. „Covering music : tracing the semiotics of Beatles album covers through the cultural circuit“. Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1112552888.

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Potgieter, Liske. „Deconstructing Disney's diva: a feminist psychoanalytic critique of the singing princess“. Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/3379.

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This study contributes to the discourse of the body and the voice in feminist psychoanalysis and psychoanalytic film theory by exploring the currently under-theorised notion of the singing body in particular, as this notion finds manifestation in Disney's Singing Princess. Analyses of musical coding and other filmic tropes follow the trajectory of the Singing Princess across thirteen Disney Princess films - from her first appearance in Snow White and the Seven Dwarfs (1937) through to her most recent manifestation as Elsa in Frozen (2013) - to reveal deeper insight into what she sings, how she sings and why she sings.

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Lewis, Paul. „A model for culture-independent music analysis : 'sounding form' and musical communication“. Thesis, University of Nottingham, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361468.

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Hanby, Gary T. „The Status Is Not Quo: Unraveling Music Videos“. BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6600.

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The Utah State Standards for media arts are general and therefore give teachers a great deal of freedom in how they present the content for media arts courses. How the teacher engages students and project assignments are left to the teacher as they walk the students through the process of making films. This thesis explores how an art teacher might use music videos to teach filmmaking techniques and engage students in the process of meaning making. My research hypothesis is that, by educating students to understand and interpret the messages they consume through media, I can help them recognize the hidden texts in visual culture. My curriculum provides students with learning activities that foster the development of critical thinking skills and also techniques for analyzing images. An important part of the curriculum for this unit is a critical study of music videos wherein the students examine music videos using semiotics and qualitative film analysis. The students explore filmmaking techniques and the processes needed to create their own messages in a music video.

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Pozderac-Chenevey, Sarah. „The Narrative Function of Pre-existing Music in Video Games“. University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1562060451119602.

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Morrison, Elizabeth Aileen Carmen. „The dead/ly feminine : violence and eroticism in three expressionist operas“. Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38245.

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This dissertation is an extended study of how representations of violence inhabit operatic works, on a literary as well as musical level. Employing recent critical and theoretical developments in philosophy, psychoanalysis, linguistics and feminist theory, this study probes into issues surrounding gender/alterity and subject formation, as well as the aesthetics of violence within fin-de-siecle culture. The main goals of the dissertation are (1) to analyze from a philosophical and psychoanalytical point of view the notion of the feminine and its persistent conjunction with death, eroticism and music; (2) to explore various theoretical interpretations of violence within aesthetic production and the potential such violence holds for a negativity that is not only destructive but may also be considered affirmative; and (3) to offer a new interpretive approach to reading violence in opera, one that is modeled after the poststructuralist theories of the "semiotic" as developed by Julia Kristeva. The first section of the dissertation establishes the theoretical groundwork, exploring the writings of Nietzsche, Derrida, Lacan, Bronfen and Kristeva (chapters 1 and 2). An examination of expressionist poetics of negation (chapter 3) leads into the second section which comprises three case studies. Each of the operas under consideration engage issues concerning violence, representation and the feminine, and reveal three very different paths toward semiotic destabilization and negativity. "Morder, Hoffnung der Frauen, or, Overcoming the m/Other" (chapter 4) explores semiotic pulsions as "structural disjunction" both within Kokoschka's radical text and Hindemith's score, and critiques the appropriation of woman in the name of creative innovation. "The Voice of Lulu" (chapter 5) analyzes semiotic eruptions through the materiality and excessive sonority of voice, and explores its subversive effects both on subjectivity and characterization. The fmal case study, "Musical Eroticism

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Bücher zum Thema "Music – Semiotics"

Linguistics and semiotics in music. Chur, Switzerland: Harwood Academic, 1992.

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Reiner, Thomas. Semiotics of musical time. New York: Peter Lang Pub., 2000.

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Baest, Arjan van. A semiotics of opera. Delft: Eburon, 2000.

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A theory of musical semiotics. Bloomington: Indiana University Press, 1994.

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Jabłoński, Maciej. Music as sign. Imatra: International Semiotics Institute, 2010.

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name, No. Musical semiotics revisited. Imatra: International Semiotics Institute at Imatra, Semiotic Society of Finland, Department of Musicology, University of Helsinki, 2003.

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Eero, Tarasti, Forsell Paul und Littlefield Richard, Hrsg. Musical semiotics in growth. Bloomington: Indiana University Press, 1996.

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Music and discourse: Toward a semiology of music. Princeton, N.J: Princeton University Press, 1990.

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Music and discourse: Toward a semiology of music. Princeton, N.J: Princeton University Press, 1990.

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The sense of music: Semiotic essays. Princeton, N.J: Princeton University Press, 2000.

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Buchteile zum Thema "Music – Semiotics"

Mazzola, Guerino, Alex Lubet, Yan Pang, Jordon Goebel, Christopher Rochester und Sangeeta Dey. „Semiotics of Time“. In Computational Music Science, 193–97. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-85629-8_14.

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Tokumaru, Yoshihiko. „Intertextuality in Japanese Traditional Music“. In Foundations of Semiotics, 139. Amsterdam: John Benjamins Publishing Company, 1991. http://dx.doi.org/10.1075/fos.8.07tok.

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Mazzola, Guerino, Maria Mannone, Yan Pang, Margaret O’Brien und Nathan Torunsky. „The Babushka Principle in Semiotics: Connotation, Motivation, and Metatheory“. In Computational Music Science, 81–83. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-47334-5_10.

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Mazzola, Guerino, Maria Mannone, Yan Pang, Margaret O’Brien und Nathan Torunsky. „Recapitulation of the First Three Dimensions: Realities, Semiotics, Communication“. In Computational Music Science, 127–29. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-47334-5_14.

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Mazzola, Guerino, René Guitart, Jocelyn Ho, Alex Lubet, Maria Mannone, Matt Rahaim und Florian Thalmann. „Gesture Philosophy: Phenomenology, Ontology, and Semiotics“. In The Topos of Music III: Gestures, 845–57. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64481-3_2.

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Mazzola, Guerino, Joomi Park und Florian Thalmann. „Oniontology: Realities, Communication, Semiotics, and Embodiment of Music“. In Musical Creativity, 5–11. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-24517-6_2.

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Golomb, Harai. „Music as Theme and as Structural Model in Chekhov'sThree Sisters“. In Semiotics of Drama and Theatre, 174. Amsterdam: John Benjamins Publishing Company, 1985. http://dx.doi.org/10.1075/llsee.10.11gol.

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Ohno, Susumu. „Of Words, Genes and Music“. In The Semiotics of Cellular Communication in the Immune System, 131–47. Berlin, Heidelberg: Springer Berlin Heidelberg, 1988. http://dx.doi.org/10.1007/978-3-642-73145-7_12.

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Tarasti, Eero. „Music as Sign and Process“. In Semiotics and International Scholarship: Towards a Language of Theory, 127–51. Dordrecht: Springer Netherlands, 1986. http://dx.doi.org/10.1007/978-94-009-4464-0_7.

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Burkhart, Benjamin. „Popular Music Analysis and Social Semiotics: The Case of the Reggae Voice“. In Popular Music Studies Today, 43–52. Wiesbaden: Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-17740-9_4.

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Konferenzberichte zum Thema "Music – Semiotics"

Attri, Shalini, und Yogesh Chander. „Reproducing Meaning: A Dialogic Approach to Sports and Semiotics“. In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.11-3.

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The wide variety of the components of signs stems from verbal communication to visual gestures, ciphers, images, music, and Morse code. Barthes’ Semiotic Theory restructured the theory of analyzing signs and allowed for a new understanding and interpretation of signs through seeing diverse cultures and societies. Saussure’s definition of the sign as a combination of signifier and signified led Barthes to further elucidate sign as connotative (cultural) and denotative (literal) processes. Semiotics can be applied to all aspects of life, as meaning is produced not in isolation but in totality, establishing multiple connotations and denotations. In the article “The World of Wrestling” published in Mythologies (1957), Barthes focused on images portrayed by the wrestler resulting in understanding of the wrestler’s image and the image of spectator. In Morse code, gestures can make any sport a spectacle of suffering, defeat and justice, representation of morality, symbols, anger, smile, passion etc., from which derive denotative and connotative meanings. Similarly, Thomas Sebeok identifies sign as one of six factors in communication, and which makes up the rich domain of semiotic research. These are message, source, destination, channel, code, and context. The present paper will focus on a dialogic relation between semiotics and sports, thus making it a text that reproduces meaning and represents certain groups. It focuses on various aspects of semiotics and their relation to sports. The paper also contemplates the versions and meanings of signs in sports that establish sport as an act of representation.

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Santos da Rosa, Sandro. „MUSIC AS A METAPHOR OF LIFE“. In New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-066.

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Neț, Mariana. „POPULAR MUSIC AND SIGNS OF TIMES. ROMANCES DEDICATED TO BUCHAREST“. In New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-015.

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Kokkidou, May, Christina Tsigka und Ifigeneia Vamvakidou. „MUSIC IN FILM SEMIOSPHERE: RECONSIDERING KUBRICK’S 2001: A SPACE ODYSSEY“. In New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-099.

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Taylor, Stephen. „From Program Music to Sonification: Representation and the Evolution of Music and Language“. In The 23rd International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2017. http://dx.doi.org/10.21785/icad2017.060.

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Annotation:

Research into the origins of music and language can shed new light on musical representation, including program music and more recent incarnations such as data sonification. Although sonification and program music have different aims — one scientific explication, the other artistic expression — similar techniques, relying on human and animal biology, cognition, and culture, underlie both. Examples include Western composers such as Beethoven and Berlioz, to more recent figures like Messiaen, Stockhausen and Tom Johnson, as well as music theory, semiotics, biology, and data sonifications by myself and others. The common thread connecting these diverse examples is the use of human musicality, in the bio- musicological sense, for representation. Links between musicality and representation — dimensions like high/low, long/short, near/far, etc., bridging the real and abstract — can prove useful for researchers, sound designers, and composers.

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Ponzio, Julia. „ARTICULATION AS MUSICAL DIMENSION OF TEXT. THE RELATION BETWEEN WORD AND MUSIC IN SALVATORE SCIARRINO’S WORK“. In New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-070.

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Kendall, Roger A. „Music in film and animation: experimental semiotics applied to visual, sound and musical structures“. In IS&T/SPIE Electronic Imaging, herausgegeben von Bernice E. Rogowitz und Thrasyvoulos N. Pappas. SPIE, 2010. http://dx.doi.org/10.1117/12.849097.

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Molchanyuk, Yuriy. „Analysis and Synthesis of Music using Semiotic Intelligent System“. In 2007 4th IEEE Workshop on Intelligent Data Acquisition and Advanced Computing Systems: Technology and Applications. IEEE, 2007. http://dx.doi.org/10.1109/idaacs.2007.4488443.

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Sagimin, Eka Margianti, und Ratna Sari. „A Semiotic Analysis on LAY’s and EXO’s Selected Music Videos“. In Twelfth Conference on Applied Linguistics (CONAPLIN 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200406.010.

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Makovetskaya, Mariya. „MUSIC AS A LANGUAGE OF FEELINGS AND AS A SEMIOTIC SYSTEM“. In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018h/21/s06.035.

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