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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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Oliveira, Luis Felipe. „A emergência do significado em música“. [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283929.
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Orientadores: Jônatas Manzolli, Willem F. G. HaselagerTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O objetivo desta tese é apresentar um modelo fenomenológico e semiótico dos processos de significação em música, tendo como apoio conceitual e teórico a filosofia de C.S. Peirce. O conceito de significado musical ou o entendimento de como a música se torna significativa envolve questões que perpassam a história da filosofia da música, da antiguidade à atualidade, assim como são consideradas também nas área da psicologia ou da neurociência aplicada à música, mais recentemente. Em um certo sentido, as perspectivas sobre o que é música e sobre como a entendemos, sobre seu papel dentro do universo do conhecimento humano e dentro das investigações metafísicas e cosmológicas, acompanham as mudanças paradigmáticas do pensamento ocidental. O primeiro capítulo apresenta uma visão panorâmica e sucinta das transformações do entendimento de música e de seus significados, a partir de três enfoques: (i) música enquanto imitação; (ii) música enquanto forma; (iii) música enquanto coletividade. O segundo capítulo adentra à área da psicologia, trazendo à discussão a teoria de Leonard Meyer do significado musical. O pioneiro trabalho de Meyer sobre essa questão dentro da psicologia da música estabelece um interessante contraponto às visões apresentadas no capítulo primeiro, e com especial correlação com a abordagem formalista de Eduard Hanslick. O terceiro capítulo continua a investigação dos processos de significação em música dentro da área da psicologia, a partir da teoria da expectativa musical de David Huron. A teoria de Huron pode ser tomada como uma proposta derivada da teoria meyeriana do significado musical, porém focando-se mais sobre evidências experimentais e sobre aspectos biológicos e neurológicos do fenômeno da antecipação. No quarto capítulo deixamos de lado a questão específica do significado musical para nos lançarmos à instigante tarefa de uma descrição do pensamento peirceano, em algum dos seus aspectos: (i) a classificação das ciências; (ii) a fenomenologia: (iii) a lógica-semiótica; (iv) as ciências normativas; (v) a lógica da descoberta; e (vi) o pragmatismo. Essa incursão ao pensamento de Peirce nos possibilitará voltar às questões específicas do significado e da significação musicais, no quinto e último capítulo desta tese. Nesse capítulo estabelecemos uma correspondência entre essa visão peirceana da significação em música e aquelas apresentadas nos três primeiros capítulos, tanto em termos lógico-semióticos, quanto em termos normativos, como também em termos pragmáticos. Apresentamos, em tal descrição peirceana da significação em música, uma correspondência dessa abordagem com conceitos atuais dos estudos da mente, como: (i) emergência; (ii) auto-organização; (iii) criatividade. O encerramento da tese leva ao diálogo, portanto, do modelo peirceano de significação musical tanto com atualidade das pequisas sobre cognição quanto com a tradição do pensamento ocidental sobre música e seus significados
Abstract: This thesis intends to provide a phenomenological and semiotic model of the process of signification in music, bearing itself conceptually and theoretically on the philosophy of C.S. Peirce. The concept of meaning in music or the understanding of how music becomes meaningful involve questions that spread over the history of the philosophy of music, from ancient times to modernity, as well as they are also considered in the field of music psychology or neuroscience of music, more recently. In a sense, the perspectives about what is music and how we do understand it, about its role within the universe of human knowledge and within the metaphysical and cosmological investigations, reflect paradigmatic changes in the history of western thought. The first chapter presents a panoramic and brief view of the shifting in the understanding of music and its meanings, from three perspectives: (i) music as imitation; (ii) music as form; (iii) music as collectiveness. The second chapter goes into the area of psychology, bringing forth the theory of musical meaning proposed by Leonard Meyer. The pioneer work of Meyer on musical meaning in psychology establishes a interesting counterpoint to those views discussed in the first chapter, with a special correlation with the formalist approach of Eduard Hanslick. The third chapter goes on in investigating the process of music signification in the field of psychology, describing the theory of musical expectancy advocated by David Huron. Huron¿s theory can be taken as derived from Meyer¿s point of view on musical meaning, but it is more focused over experimental evidences and on biological and neurological aspects of anticipation. In the fourth chapter we take aside the specific question of musical meaning to launch ourselves in the instigating task of describing some aspects of the peircean thought: (i) the classification of science; (ii) the phenomenology; (iii) the logic-semiotics; (iv) the normative sciences; (v) the logic of discovery, and (vi) the pragmatism. Such incursion in the Peirce¿s thought would lead us back to the especific questions about musical meaning and signification, in the fifth chapter of this thesis. In such chapter we establish a correspondence between this peircean perspective of musical signification and those presented in the first three chapters, in logic-semiotic, normative and pragmatic terms. We also propose a correspondence of this approach with recent concepts in the studies of mind , as: (i) emergence; (ii) self-organization; (iii) creativity. In the thesis¿s finishing takes to a dialog, thus, between the peircean model of musical signification with both the the actuality of the recent researches on human cognition and the western tradition of thinking about music and its meanings
Doutorado
Doutor em Música
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Gobbi, Valeria. „As significações da percepção na apreciação musical“. reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/32162.
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Esta tese situa a temática das significações da percepção na apreciação musical, com base nos referenciais piagetiano e peirciano, nos quais foram privilegiadas noções referentes às manifestações simbólicas na música pelos sujeitos que participam de atividades didáticopedagógicas em cursos realizados em contextos diversos que visam à educação musical. Busca-se investigar como se manifestam nos pronunciamentos verbais dos participantes das sessões de apreciação musical desses cursos as percepções livres, entendidas como o sensível, mais diretamente ligadas a impressões variadas dos sujeitos, e elementos do conhecimento específico da área de música, problematizando, assim, o modo como se processa a aquisição dos conhecimentos musicais e a fruição da música, supondo-se que o conhecimento influencia na qualidade da apreciação de alguma forma, que varia para diferentes sujeitos. A metodologia foi constituída com base nos referenciais indicados; considera-se que as apreciações consistem no uso de signos verbais que retomam signos musicais ouvidos, os quais são signos semiológicos, cuja constituição tem um elemento sensorial e elementos de representação mental, cognitivos, que atendem a um processo progressivo de sistematização, com diferenças entre sujeitos que produzem as suas significações. O repertório de cada sessão de apreciação foi estabelecido seguindo um critério que articulou o conhecimento musical a um senso expressivo. O corpus é formado pelas respostas, produzidas por quarenta e oito sujeitos nos seguintes contextos: Galeria de Arte, cursos de graduação em Pedagogia, Licenciatura em Artes e de Música – Licenciatura e Bacharelados, da Universidade de Passo Fundo. Os depoimentos foram apresentados e classificados de modo a mostrar indicadores de percepções predominantemente sensíveis, expressivas e musicais. Concluiu-se que, no tipo de proposta pedagógica de apreciação musical trabalhada, o sensível ressalta-se sempre acompanhado das outras formas, mas não é óbvio dizer que aqueles dotados de conhecimento musical também apresentam o sensível, o que se atribui ao modo como o curso foi dinamizado, com proposta de livre manifestação, aliando a estesia ao cognitivo.This thesis places thematic of perception significance in musical appreciation; based on Piaget and Peirce references, from which notions referred to symbolic manifestations in music were privileged, by the ones who attend didactic-pedagogical activities, in courses which aim musical education. It was tried to investigate how free perception, understood as the sensible, more directly linked to varied impressions of the subjects, and, also elements of specific knowledge of the musical field, questioning, therefore, the way musical knowledge and the music FRUIÇÃO process, supposing that the knowledge will influence the quality of appreciation in a certain way that varies from subject to subject, manifest, in verbal pronouncements of the musical appreciation sessions in courses carried out in several contexts. The methodology was constituted based on the indicated reference; it is understood that appreciations consist in the use of verbal signs which retake musical signs heard, which are semiology signs, which constitution has a sensorial element and mental representative elements, cognitive which answer to a progressive process of systematization with differences among subjects who produce their meanings. The repertoire of each appreciation session was established from a criterion that articulated musical knowledge allied to an expressive sense. The corpus is formed by answers, produced by (48) fourthin eight subjects, on the following contexts: Art Gallery, graduation courses in Pedagogy, Arts Licentiate and Music – Licentiate and Bachelor’s Degree, to Passo Fundo University. The statements were presented and classified to show indicators of mainly sensible, expressive and musical perceptions. The conclusion was that, in the kind of pedagogical proposal of musical appreciation developed, the sensible stands out always followed by other forms, but it is not obvious to say that those gifted with musical knowledge also presents the sensible. This was due to the way the course was conducted, with a free manifestation proposal, allying the aesthesia to the cognitive.
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Baker, Melody. „Finding Meaning in the Music of David Maslanka“. The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492526406064583.
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Yang, Chaul. „Solo Violin in Gustav Mahler's Symphonic Works as a Musical Sign“. Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062824/.
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Noted for both vocal and symphonic output, Gustav Mahler's musical sophistication constantly puzzled scholars in the past decades. In his symphonic works, the mixed forms and styles in combination with the vocal influence make it abstruse for listeners to detect the meaning of the use of traditional instruments. The solo violin, which has an extensive history of appearing in symphonic compositions since the Baroque era, is an instance of a traditional instrument given an unusual function. For instance, Mahler's violin solos do not tend to showcase the virtuosity of the instrument as they normally do in orchestral music. In order to closely examine the role of the solo violin, I rely on aspects relating to introversive semiosis such as harmonies, rhythms, textures, phrase structures, and forms; then my focus shifts to extroversive semiosis, specifically to topics and contextual factors. By considering the violin as a musical sign, listeners can comprehend the instrument's structure, syntax, and ultimately the complex logic of Mahler's musical discourse.
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Junior, Diocleyr Baulé. „(Plano do) conteúdo musical: reflexões acerca da espacialidade do sentido na música“. Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-17112015-130016/.
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Esta dissertação é composta de quatro capítulos. O primeiro, de caráter lexicográfico, explora os campos semânticos de oito termos capciosos comuns às teorias linguística, narrativa, semiótica e musical. O Segundo faz uma analogia entre sistema musical e língua natural segundo oito princípios que delimitamos do pensamento saussuriano. O terceiro cuida do sentido musical imanente defendido pelos analistas de música, afilhados do pensamento de Hanslick, da escola formalista dos séculos XIX e XX. O quarto, e último capítulo, intitulado hermenêutica, trata das linhas que criativamente extraem sentido semântico de estruturas musicais.This dissertation consists of four chapters. The first of lexicographical nature, explores the semantic fields of eight specious terms common to linguistic, narrative, semiotic and musical theories. The second is an analogy between music system and natural language according to eight principles that delimit the Saussurean thought. The third takes care of the immanent musical sense advocated by music analysts, godchildren of Hanslick\'s thought, the formalist school of the nineteenth and twentieth centuries. The fourth and final chapter, entitled hermeneutics deals with lines that draw creatively semantic sense of musical structures.
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Sivy, Robert Jacob. „EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY“. UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/149.
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English progressive rock band Gentle Giant is catalogued under the progressive (or “prog”) rock genre for a variety reasons, including unique instrumentation, virtuosity, and interesting/unconventional musical attributes. The complexity of their music is often warranted by the sophisticated concepts behind their albums and the deep messages of their songs. The Power and the Glory (TPatG), Gentle Giant’s sixth studio album, is a concept album that emphasizes the rise and corruption of power. What makes their music, especially TPatG, worthy of scholarly attention beyond the simple examination of the compositional techniques employed is the way in which the message of their compositions is conveyed, and how that message is interpreted. In this project, I investigate the elements that contribute to this album’s theme via semiotic analysis.
I begin by exploring the discipline of semiotics as a method for analysis. Largely applied to language and literature, semiotic analysis has been recently adapted and applied to music study. Jean Molino’s method proposes a tripartite model for the analysis of music: analyses at poietic, neutral, and esthesic levels. A poietic level analysis examines the circumstances of the music’s creation, including origination, composition, production, and performance. Situating Gentle Giant among their contemporaries and TPatG among the band’s discography by outlining their history (both personal and professional) illuminates the conditions under which the album was generated and produced. An analysis of the neutral level defines the musical “trace,” or those quantifiable elements of the music (i.e., objective elements such as pitch, rhythm, etc.). These structures are explained in light of their usage throughout history and their impact on the album’s overarching theme of the corruption of power. An esthesic analysis describes the reception and interpretation of the music. I examine the socio-cultural impact the album has made and the influence it has had on musicians throughout the years. Molino’s tripartite method of analysis supports a comprehensive understanding of Gentle Giant’s TPatG, not solely musically by examining its structures, but socio-culturally as a part of the progressive-rock culture and, indeed, the broader music industry of the 1970s.
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Luttrell, Briony M. „A cultural semantics of string arrangement for recorded Popular music: A model for analysis and practice“. Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/108032/2/Briony_Luttrell_Thesis.pdf.
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This thesis contributes new knowledge about writing and analyzing string arrangements for recorded Popular music. I show how string arrangements can be categorized under one of seven distinct styles that are made coherent and meaningful through their identification with specific social and cultural institutions. The string styles are derived from and situated in a cultural and historical corpus of 500 albums released between 1952 and 2011. The thesis offers a new way for arrangers to analyze examples of practice, inform new creative work, and communicate with other musical professionals about string arranging.
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Downs, Benjamin Michael. „A Critical Narrative Interpretation of John Corigliano's Etude Fantasy“. University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1282169173.
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Daunoravičienė, Gražina. „"Baltos lankos": Texte und Interpretationen - Almanach der Musiksemiotik, Vilnius (Baltos lankos), 1997, 246 S. (litauisch) [Rezension]“. Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-225417.
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Die neunte Nummer des Almanachs "Baltos lankos" ist der Musiksemiotik gewidmet. Der Almanach "Baltos lankos" wurde von dem der Gründer der französischen Semiologieschule, dem Litauer Algirdas Julius Greimas, ins Leben gerufen.
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Clavere, Javier. „Semiotic Analysis of Osvaldo Golijov’s Musical Setting of the Passion Narrative in La Pasión según San Marcos“. University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1227221958.
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Dietrich, Peter. „Araçá azul: uma análise semiótica“. Universidade de São Paulo, 2003. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-15122003-222743/.
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Lançado no Brasil em 1973, o LP Araçá Azul é considerado a mais radical experiência tropicalista já realizada. Ela é obra do cantor e compositor baiano Caetano Veloso, um dos maiores e mais fecundos pensadores da cultura brasileira, que na época do lançamento deste LP já gozava de enorme prestígio junto ao público local, principalmente devido ao enorme sucesso da canção Alegria, alegria. Este disco é o primeiro a ser lançado depois do retorno do exílio do compositor em Londres imposto pela ditadura militar. Essa combinação de fatores faz do Araçá Azul uma obra sui generis na história da música popular. No entanto, não havia até agora nenhum estudo concentrado neste LP. O objetivo desta dissertação é analisar minuciosamente todos os elementos presentes no álbum, não só as canções e faixas experimentais mas também todo o projeto visual, que inclui capa, contracapa e encartes, evidenciando assim as estratégias utilizadas para a construção do sentido na obra. O método descritivo escolhido foi a teoria semiótica, iniciada por Greimas e ampliada por Fontanille e Zilberberg, e seu desdobramento no campo da canção popular na acepção de Luiz Tatit. Além de resgatar um importante acontecimento na história da música brasileira, este trabalho também contribui para a discussão do modelo descritivo adotado, apontando suas limitações atuais e sugerindo novas frentes de pesquisa para a ampliação de seu horizonte teórico.Edited in Brazil in 1973, the LP Araçá Azul is considered to be the most radical tropicalist experience ever produced. It was created by Caetano Veloso, a composer, singer and one of the most prolific Brazilian thinkers. At that time, he was already recognized as a Pop-Star by the local public, due to the great success of his song \"Alegria, Alegria\". This was the first record edited by the composer after returning from his political exile in London, which was imposed by the military regime. This combination of events makes Araçá Azul a \"sui generis\" piece in the history of popular music. Nevertheless, up to the present time no study of this LP has appeared in the literature. The objective of this dissertation is to analyze in detail all the elements of the album, not only the songs and experimental tracks, but also the visual project as a whole, including the front, back and inner covers. The purpose is to show all the strategies used to construct the signification of the album. The descriptive method adopted is the Semiotic Theory, initiated by Greimas, and further developed by Fontanille and Zilberberg, and extended to the field of popular music, as postulated by Luiz Tatit. The present work not only unveils an important event in Brazilian musical history, but also contributes to the discussion of the descriptive model adopted, pointing out its limitations and suggesting new lines of research to broaden its theoretical horizons.
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Larson, Eduardo. „Desafinando o coro dos contentes : o discurso polifonico em canções tropicalistas“. [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284759.
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Orientador: Jose Roberto ZanDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O trabalho que aqui se apresenta tem como fio condutor a verificação de como se dá a construção do sentido através de procedimentos polifônicos na canção popular. Polifonia entendida não por sua acepção musicológica, mas pela noção advinda dos estudos da linguagem: as muitas "vozes" que contribuem para a formação do sentido no processo enunciativo. Estamos considerando a canção como uma forma híbrida de linguagem cuj o texto se configura verbal e musicalmente, por isso, tentamos verificar o fenômeno da polifonia tanto em seus aspectos lingüísticos quanto nos musicais, e principalmente na interação entre ambos. Para tanto, além da reflexão sobre os conceitos de polifonia, intertextualidade, interdiscursividade e suas implicações no campo cancional e musical, nos propomos a analisar os fonogramas de "Enquanto seu Lobo não vem" e ""Não Identificado" produzidos no período tropicalista de Caetano Veloso. Nosso objetivo, portanto, teve uma dupla orientação: por um lado, mobilizar um conjunto teórico a respeito da questão da polifonia, estendendo-a ao universo da canção, e por outro lado a análise de um corpus fonográfico - escolhido por apresentar, ao menos intuitivamente, afinidade com o tema - que acabou por corroborar nossas proposições e sugerir novas possibilidades de investigação
Abstract: The main focus of the present work is to verify how the construction of meaning is established via polyphonic procedures in popular Brazilian songs. The term "polyphony" will be used not as usually intended by Musicology, but as it is applied in Linguistics: the discursive "voices" that interplay in an enunciation and contributes to build its sense. We are considering songs as a hybrid semiotic whose text configures verbally and musically, so we try to verify the polyphony phenomenon in the linguistic and musical aspects of songs, and mostly in their interactions. In order to accomplish this, besides presenting considerations of the concepts of polyphony and intertextuality, and their implications in the study of music and songs, we propose the analysis of two phonograms produced by Caetano Veloso during his "tropicalistic" period: "Enquanto seu Lobo não vem" ("Meanwhile, before 'Big Bad Wolf ("Unidentified"). comes") and "Não Identificado". Our purpose, therefore, had a dual orientation: to mobilize a theoretical framework around the concept of polyphony, extending it to the study of music and songs, and to examine a phonographic corpus chosen by its empathy to our premise that, in the end, happened to cOIToborate our propositions and suggest new ways of investigation
Mestrado
Mestre em Música
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Pinson, Koren Heather. „The music behind the image : a study of the social and cultural identity of jazz /“. View abstract, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3266067.
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Jeffery, Christopher. „Serial meaning : a semiotic/narratological analysis of Arnold Schoenberg's Third string quartet, first movement“. Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/50448.
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ThesisENGLISH ABSTRACT: The aim of this study is to contribute to the investigation of the methods in which serial technique expresses meaning in the first movement of Arnold Schoenberg's Third Quartet, Op.30. It aims to add to the debate concerning Schoenberg's use of conventional formsparticularly sonata form-in his serial music, by investigating how he manipulates the row to playa narrative function, seemingly in opposition to its homogeneous nature. The analytical section consists of a semiotic analysis based on the work of Jean- Jacques Nattiez. It incorporates a narratological analysis which infers from the semiotic data that Schoenberg's "idea", which is associated with notions of unity, is brought towards fulfilment through his narrativization of the row in the context of sonata form.
AFRIKAANSE OPSOMMING: Die doel van hierdie studie is om by te dra tot die ondersoek na die metodes met behulp waarvan seriële tegniek "betekenis" tot uitdrukking bring in Arnold Schoenberg se derde strykkwartet, op. 30. Dit poog om 'n bydrae te lewer tot die debat oor Schoenberg se gebruik van konvensionele vorms-in besonder sonatevorm-in sy seriële musiek te ondersoek, deur middel van manipulasies van die reeks in diens van 'n narratiewe funksie, oënskynlik in teenstelling met die homogene aard van die reeks. Die analitiese gedeelte van die studie bestaan uit 'n semiotiese analise gebaseer op die werk van Jean-Jacques Nattiez. Hierby word ingesluit 'n narratologiese analise waarin vanuit die semiotiese data afgelei word dat Schoenberg se "idee", wat geassosieer word met opvattings van eenheid, tot 'n slotsom gebring word deur middel van sy narrativering van die reeks in die konteks van sonatevorm.
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Hopwood, Paul Andrew. „Frank Bridge and the English pastoral tradition“. University of Western Australia. School of Music, 2007. http://theses.library.uwa.edu.au/adt-WU2008.0017.
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This study's thesis is that instances of pastoralism in the works of Frank Bridge from 1914 to 1930 demonstrate a gradual darkening of his pastoral vision, and evince his increasingly complex relationship with the genre of pastoral music that flourished in English music in the early twentieth century (referred to in this study as 'the English pastoral tradition'). The study traces the change from the sensual and romantic idyll of Summer (1914-15), through progressively more ambiguous and darker manifestations of pastoral, and eventually to a bleak anti-pastoral vision in Oration (1930). This trend reflects Bridge's increasingly ambivalent relationship with the English musical establishment, his own radical change of musical language during these years, and significant changes in his personal circumstances. It also reflects the decline of romanticism and the rise of modernism in English music, a paradigm-shift that happened around the time of World War I, considerably later than in the music, literature and visual art of continental Europe. Chapters 1 to 3 examine the English pastoral tradition from three different contexts. Chapter 1 suggests that the English pastoral tradition may be understood as a genre, and describes a number of 'family resemblances' that run through and characterise it. Second, the English pastoral tradition is placed in the context of pastoral art from Classical times to the twentieth century, with a focus on pastoral in English literature. Finally, chapter 3 examines the social and cultural context of the English pastoral tradition and explores resonances between English society in the early twentieth century and the meaningstructures that underpin pastoral. The remaining chapters comprise a series of analytical discussions of six of Frank Bridge's works: Summer (1914-5), the first of the Two Poems (1915), Enter Spring (1926-7), There is a willow grows aslant a brook (1927), Rhapsody-Trio (1928) and Oration (1930). While a variety of analytical techniques are employed, the approach is broadly semiotic and focussed on musical meaning. Each analysis traces the relationships between signifying structures in the works and various musical and non-musical strands of the contextualising cultural discourse. As a result the works become the starting points for relatively wide-ranging discussions in which pastoralism in the music of Frank Bridge is understood as a site at which ideas of English nationalism and international modernism engaged with one another. Frank Bridge's place in this discourse, as revealed in the analyses of his works, becomes increasingly ambivalent and modernist.
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Fernandes, Cleyton Vieira. „Semiótica e construção do sentido no discurso musical: propostas teóricas e aplicações“. Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-08112012-110808/.
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O pesquisador que opta pela Semiótica de linha francesa para o desenvolvimento de seu projeto acadêmico, lança sua âncora nos estudos da linguagem humana e encontra um arcabouço teórico inaugurado por Saussure no Curso de Linguística Geral (Saussure, 1997). Partindo desta base teórica, discutiremos a pertinência da aplicação dos princípios da Teoria Semiótica, também chamada greimasiana, na análise do discurso musical. Num primeiro momento, apresentaremos um modelo de apreensão do objeto estético a partir de elementos extraídos da obra Da imperfeição, onde Greimas discute o Acontecimento Estésico. Em seguida, proporemos algumas formas distintas de discretizar e sistematizar o discurso musical, debatendo algumas das tomadas de posição entre os semioticistas da Música. Vencidas tais etapas, aplicaremos aos parâmetros das Alturas, Intervalos Simultâneos e Timbre, alguns conceitos extraídos, sobretudo, da Semiótica Tensiva, conforme as propostas de Claude Zilberberg. Finalmente, por meio da análise de dois importantes movimentos na história do Jazz, o Swing e o Bebop, traremos algumas formulações sobre o conceito de Cena Enunciativa e sua implicação na construção do sentido do discurso musical.The researcher who opts for the French Semiotics to develop their academic project casts his anchor in the study of the human language and finds the theoretical framework inaugurated by Saussure in the Curso de Linguística Geral (Saussure, 1997). From this theoretical basis, we discuss the relevance of the principles of the Semiotic Theory, also called greimasien, in the analysis of musical discourse. At first, we present a model of aesthetic apprehension of the object based on elements from the work Da Imperfeição, when Greimas discusses the Event Aesthesic. Then, we propose some different ways to discretize and systematize the musical discourse, debating some of the positions among music semioticians. After these steps, we will apply to the parameters of Heights, Simultaneous Intervals and Timbre, some concepts extracted especially from Tensive Semiotics, according to Claude Zilberberg proposals. Finally, by means of the analysis of two important movements in the history of Jazz, Swing and Bebop, we will bring some of the formulations on the concept of Enunciative Scene and its implication in the senses construction of musical discourse.
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Dietrich, Peter. „Semiótica do discurso musical: uma discussão a partir das canções de Chico Buarque“. Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-12012009-155735/.
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Ao longo das últimas três décadas observamos o progressivo interesse que a semiótica da canção popular desenvolvida por Luiz Tatit a partir da semiótica greimasiana vem despertando no meio acadêmico. Situada na fronteira dos domínios da lingüística e da música, e justamente por isso, a canção se apresenta como um objeto de difícil análise. Teorias específicas para o componente verbal e musical raramente se compatibilizam a ponto de permitirem uma análise homogênea. O êxito obtido até agora pela semiótica greimasiana pode em parte ser explicado por sua forte vocação para a multidisciplinaridade, a despeito de sua origem e tradição lingüística. Em suas formulações iniciais foram considerados apenas alguns parâmetros musicais que estruturam a melodia da canção. Dessa maneira, poderíamos afirmar que em um primeiro momento a canção foi considerada uma palavra cantada, opondo-se a palavra falada da nossa fala cotidiana. Percebemos que parte dos esforços dos pesquisadores que se dedicam ao desenvolvimento dessa teoria consiste em tentar incorporar cada vez mais elementos musicais. A partir de uma revisão crítica da literatura atual, esse trabalho discute e propõe procedimentos de semiotização do material musical, especialmente no que se refere ao timbre e às questões de harmonia. Para garantir a coerência necessária com os fundamentos da teoria, propusemos a distinção entre o discurso da produção musical e o discurso musical propriamente dito, discutimos a relação entre plano da expressão e plano do conteúdo no discurso musical, assim como sua organização hierárquica. Dentro dessa diversidade de assuntos e abordagens, elegemos como fio condutor do trabalho a obra cancional de Chico Buarque, que representa a um só tempo a fonte de indagações e a sustentação dos resultados obtidos.Throughout the last three decades it has been observed the increasing interest of the academic environment on the semiotic theory of popular song developed by Luiz Tatit, based on greimasian semiotics. Situated midway between linguistics and music, and exactly because of that, songs are difficult to analyse. Specific theories for the verbal and the musical components are rarely compatible enough to allow an homogeneous analysis. The success achieved so far by greimasian semiotics can in part be explained by its strong multidisciplinary vocation , in spite of its linguistic origin. In its initial formulation, only musical parameters that structuralyze the songs melody had been considered. Therefore, it could be said that, at first, the song was considered a \"sung word\", as opposed to the \"spoken word\" of our daily speech. Part of the efforts of the researchers dedicated to the development of this theory consists in trying to incorporate increasingly more musical elements. Based on a critical review of the current literature, the present work discusses and proposes semiotization procedures of the musical material, especially timbre and harmony aspects. To guarantee the necessary coherence with the theorys foundations, we propose the distinction between the speech of musical production and the musical speech per se; we discuss the relationship between expression and content in the musical speech, as well as its hierarchic organization. Within this diversity of subjects and approaches, we chose the songs composed by Chico Buarque as a guideline, as a source of the investigation as well as a support of the results.
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Mohammadi, Behrang. „The semiotics of artificial and natural reverberation in underground electronic club music : How DJs use performance space acoustics and reverberation to shape sound“. Thesis, Luleå tekniska universitet, Medier ljudteknik och upplevelseproduktion och teater, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-68739.
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Coelho, Márcio Luíz Gusmão. „O arranjo como elemento orgânico ligado à canção popular brasileira: uma proposta de análise semiótica“. Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-27112007-153845/.
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Baseada na teoria semiótica, nos estudos realizados por Mikhail Bakhtin sobre a assunção do discurso alheio e principalmente na teoria erigida por Luiz Augusto de Moraes Tatit (Semiótica da Canção), a tese O Arranjo como Elemento Orgânico Ligado à Canção Popular Brasileira: uma proposta de análise semiótica tem como objetivo precípuo demonstrar que, assim como o criador da Semiótica da Canção convincentemente instituiu a idéia segundo a qual ao analisarmos somente a letra de uma canção popular estamos prescindindo da metade de seu sentido, qualquer análise de canção popular que dispense a abordagem do arranjo está prescindindo de um terço de seu sentido. Desse modo, propõe também que, em lugar de analistas de canções, reconheçamo-nos como analistas de fonogramas. Para tanto, retomamos clássicos conceitos erigidos pela semiótica, estudando-os, analisando-os e, também, quando necessário, criticando, senão o próprio conceito, o processo de sua constituição. Investigamos, aqui, a constituição da noção de existência semiótica para estabelecer os modos de existência da canção popular; as relações antagônicas do arranjo na canção popular brasileira; o uso como elemento determinante para a escolha dos instrumentos que compõem um arranjo; a apropriação do discurso alheio pelo arranjo da canção popular brasileira. Por fim, aplicamos os termos a que chegamos numa completa análise da canção ?JackSoulBrasileiro?, de Lenine.Based on the semiotic, in the studies which were carried out by Mikhail Bakhtin about the assumption of the discourse of someone else and mainly on the theory created by Luiz Augusto de Moraes Tatit (The Semiotic of the Song), the thesis The Arrangement as an Organic Element Linked to the Brazilian Popular Song: a proposal of semiotic analysis has as its main objective to demonstrate that, as the creator of the Semiotic of the Song convincingly imposed an idea that according to the fact that if we analyze only the lyrics of a popular song, we will lack half of its meaning, each and every analysis of the popular song which has its arrangements not been taken into consideration will lack one third of its meaning. Thus, it is proposed that other than being known as song analysts, we must be known as phonogram analysts. For a complete analysis, we have brought back the classic concepts of the semiotic by studying them, analyzing them, and also when necessary, criticizing either the concept itself or its constitution. Here we examined the constitution of the notion of the semiotic existence to establish the means of existence of the popular song; the existing polemic relations found in the arrangements of the Brazilian popular song; the use of a determining factor in order to make the choice of the instruments which compose the arrangements; the use of the discourse of someone else in the arrangements of the Brazilian popular song. All the conclusions which we have come to so far were applied for a complete analysis of the song ?JackSoulBrasileiro?, a song composed by Lenine.
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Grandstrand, Rachel. „The Performance and Perception of Social Identities in Country-Rap Music“. Oberlin College Honors Theses / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1375280445.
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Leech, Charles Cairns Danebury. „The metasemiotics of classical music & film : the recontextualisation of Strauss and Wagner in pop culture“. Thesis, Queensland University of Technology, 1999.
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Employing a cross-disciplinary theoretical base that encompasses intertextuality theory, film studies, and musicology, this thesis examines the media combination of classical music and Hollywood film, and its role in
popular culture. Three classical music case histories are examined: the 'Introduction' from Strauss's Also sprach Zarathustra; the 'Ride of the Valkyries' from Wagner's opera The Valkyrie; and the 'Liebestod' from Wagner's Tristan and Isolde. Throughout these case histories (and the
numerous films in which these pieces of music are heard), narrative congruence between the music and the associated visual image is demonstrated. Eventually the music achieves the pop culture status of 'metaleitmotif'. The combination of classical music with film is thus shown to be a complex example of the kind of multimedia intertextual reference that makes up modern metasemiotic pop culture.
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Ansoleaga, Larrama Luciano, und Hampus Jansson. „SVERIGE VET att The botten is nådd : En komparativ studie av prisbelönta svenska hiphopartisters representation av droger och våld i musikvideos från två olika generationer“. Thesis, Uppsala universitet, Institutionen för informatik och media, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-433048.
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Given the controversial history of the music genre hiphop it is important to investigate how the genre is representing violence and drugs. Since the beginning of hiphop the content of the genre has been heavily criticised for its explicit references to drugs and violence. The controversial genre is growing in popularity and in modern Sweden the hiphop genre is topping music charts. This study aims to research the change in how acclaimed Swedish hiphop artists represent violence and drugs in their music videos, today versus 20 years ago. The study analyses four different award winning artists' music videos from two different time periods, using Stuart Hall's representation theory (1997) as its theoretical framework. Two of the chosen music videos are from the later half of this decade and the other two are from the early 2000s. The studied artists are Z.E, Einár, Petter and Timbuktu; their videos have been analysed by using the methodological semiotic approach, which utilises the denotative and connotative levels when analysing media content. The result of the study shows that there is a change in how these acclaimed hiphop artist from these two generations represent drugs and violence in their videos. Especially it is shown that the modern era of acclaimed Swedish hiphop artist are connecting heavy drugs with success and social status. Simultaneously they use violence to build a threatening and powerful image of themselves. The older generation only represent lighter drugs which are portrayed in festive contexts and their negative consequences are presented. It should be noted that any violence portrayed in their videos is neutralised by the use of humor and levity.
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Hull, Gretchen Lindsay. „Hearing the Sublime: Signification of the Sublime in Solo Piano Literature of the Nineteenth Century“. Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/554587.
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Music PerformanceD.M.A.
Though many philosophers and music theorists have admitted the signification of the sublime in music as a possibility, the nature and mechanism of that signification has not yet been treated at length with a methodology familiar to musicians or native to music theory. Within this dissertation I have conducted a survey of the philosophy of the sublime as understood by Edmund Burke (1729 – 1797), Immanuel Kant (1724 – 1804), Friedrich Schiller (1759 – 1805), and Arthur Schopenhauer (1788 – 1860), with references to other contemporary philosophers and writers. The broader influence of the sublime in regards to German-speaking regions and certain musical composers was also considered. I then gathered from the above philosophers’ categories and definitions of the sublime a constellation of objects, qualities, and emotional states associated with the sublime. These functioned as signs or signifiers of the sublime, whose paths of signification were considered or determined with use of semiotics and topic theory, with reference to the work of Danuta Mirka, Raymond Monelle, and Leonard Ratner. Making reference to score examples listed in the list of figures, I implemented these techniques in analyses of Ludwig van Beethoven’s Sonata No. 30 in E Major, Op. 109 and Sonata No. 32 in C, Op. 111 as well as Franz Liszt’s “Mazeppa,” from the Études d’exécution transcendante, “Funerailles” from Harmonies Poétiques et Religieuses III, S. 173, and “Marche funèbre, En mémoire de Maximilian I, Empereur du Mexique” in from Années de pèlerinage III, S.163.
Temple University--Theses
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Olivier, Ryan. „Musica Speculativa: An Exploration of the Multimedia Concert Experience through Theory and Practice“. Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/329943.
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Music CompositionD.M.A.
Musica Speculativa is a final project in two parts in which I explore, through both theory and practice, the role of metaphors in our understanding of reality with special attention given to the use of visual representation in multimedia concert works that employ electroacoustics. Part I, entitled, "Imaginary Cognition: Interpreting the Topoi of Intermedia Electroacoustic Concert Works," explores how metaphors play a core role in our musical experience and how aural metaphors can be enhanced by and ultimately interact with visual metaphors to create a contrapuntal intermedia experience. Part II, "Musica Speculativa: A Multimedia Concert in Five Movements and Three Intermezzi," for mezzo-soprano, flute, B-flat bass clarinet, violin, cello, piano, a percussionist performing an array of lightning bottles, a dancer with a gesture-sensing wand, and a technologist operating interactive audio and video processing, focuses on the medieval philosophy of Musica Speculativa and how it relates to our current understanding of the world. In part I explore the heightened experience of metaphorical exchange through the utilization of multimedia. The starting point is the expansion of visual enhancement in electroacoustic compositions due to the widespread availability of projection in concert halls and the multimedia expectations created through 21st-century Western culture. With the use of visual representation comes the potential to map musical ideas onto visual signs, creating another level of cognition. The subsequent unfolding of visual signifiers offers a direct visual complement and subsequent interaction to the unfolding of aural themes in electroacoustic compositions. The paper surveys the current research surrounding metaphorical thematic recognition in electroacoustic works whose transformational processes might be unfamiliar, and which in turn create fertile ground for the negotiation of meaning. The interaction of media and the differences created among the various signs within the music and the visual art create a heightened concert experience that is familiar to and in many ways expected by contemporary listeners. Composers such as Jaroslaw Kapuscinski have sought to use multimedia as a means to enhance the concert experience, giving movement to the acousmatic presence in their electroacoustic works. In turn, these works create a concert experience that is more familiar to the 21st-century audience. Through examining Kapuscinski's recent work, Oli's Dream, in light of cognitive research by Zbikowski (1998 & 2002), topic theory by Agawu (1991 & 2009), and multimedia research by Cook (1998), I propose a theory for analyzing contrapuntal meaning in multimedia concert works. The themes explored in Part I, regarding the use of metaphor to interpret both visual and aural stimuli, ultimately creating a metaphor for a reality never fully grasped due to the limits of human understanding, are further explored artistically in the multimedia concert work, Musica Speculativa. The medieval philosophy of Musica Speculativa suggests that music as it is understood today (musica instrumentalis) is the only tangible form of the metaphysical music ruling human interactions (musica humana) and ordering the cosmos (musica mundana). I found the concept of Musica Speculativa to be a fitting metaphor for how music and art allude to our own perception of reality and our place within that world. The project as a whole re-examines the concept of Musica Speculativa in light of our current technological landscape to gain a deeper understanding of how we interact with the world around us.
Temple University--Theses
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Silva, Ricardo Ribeiro da 1986. „Metáfora e composição musical : aspectos semióticos do processo criativo“. [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284505.
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Orientador: Denise Hortência Lopes GarciaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho propõe o estudo de processos de composição musical do repertório do século XX à luz do conceito semiótico de metáfora. Na primeira parte são discutidas algumas das abordagens teóricas acerca deste conceito, enfatizando-se as concepções relacionadas à semiótica peirceana e a determinados autores da filosofia da linguagem. Neste ponto, o objetivo é observar de que maneira a metáfora pode ser compreendida como operação semiótica de significação, que pode ser estendida a sistemas semióticos outros, para além da linguagem verbal. Na segunda parte da pesquisa, procura-se observar as implicações desta operação metafórica para a compreensão de processos de criação musical, notadamente relacionadas a praticas composicionais do século XX. Para tanto, são analisados aspectos dos processos criativos na música eletroacústica de Luc Ferrari - particularmente relacionados à questão da referencialidade na música acusmática; e na música instrumental de Tristan Murail - enfatizando-se a exploração de modelos na música espectral
Abstract: This works proposes the study of twentieth century music compositional processes in the light of the semiotic concept of metaphor. In the first part, some theoretical approaches on metaphor are discussed, notably the conceptions related to peircean semiotics and to some authors of philosophy of language. In this point, the objective is to observe how metaphor can be understood as a semiotic operation of meaning, which can be extended to different semiotic systems, beyond verbal language. In the second part of the research, we intend to observe the implications of metaphoric operation within processes of twentieth century compositional practices. Therefore, some aspects of the creative processes are analyzed; first in the electroacoustic music of Luc Ferrari (1929 - 2005) - mainly those related to the question of reference in acousmatic music; and also in the instrumental music of Tristan Murail - emphasizing the exploration of models in spectral music
Mestrado
Processos Criativos
Mestre em Música
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Rodolfo, Guilherme Weffort. „Música predicadora de sentidos: análise fílmico/musical baseada na Semiótica Tensiva“. Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-30112017-172632/.
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Músicas compostas para cinema são regularmente apontadas como motivadoras de amplificações sensíveis de uma cena. Podemos perceber essa alteração gerada pela música do filme, mas dificilmente encontraremos argumentos que comprovem, ou tracem uma análise mais precisa e que fique longe de especulações. Através da Semiótica Tensiva, principalmente a desenvolvida por Claude Zilberberg, podemos considerar a existência de uma música predicadora e sentidos, capaz de mostrar a alteração do núcleo de significações de um enunciado fílmico/musical. A predicação musical é utilizada como base do argumento que mostra a dinâmica de transmissão de afetos reconhecida entre enunciador e enunciatário: uma construção retórica praticada pelo meio de comunicação cinema. A análise do exemplo, a cena do Batismo, do filme O Poderoso Chefão, de 1972 e dirigida por Francis Ford Coppola, exigiu a criação de um método de análise que se configurou em níveis, objetivando o entendimento das cumulações e cadências promovidas pela predicação musical, e assim, a visão das figuras de retórica existentes no meio. A análise mostra o processo de composição e edição da cena e seu efeito de contato com o expectador, que apreende os códigos culturalmente estabelecidos e apresentados em ações relacionais na narrativa. A música é predicadora de sentidos e é utilizada como construtora dos elementos persuasivos do cinema.Music composed for films are regularly pointed out as motivators of amplification of the sensibility of a scene. We can observe this alteration in sense produced by the music of the film, but we hardly will find arguments to confirm it or draw a more precise analysis of it. Through the Tensive Semiotics, especially the one developed by Claude Zilberberg, we can consider a existence of a music that predicates de senses, that is capable of showing the alteration in the nucleus of the sense of the filmic/musical utterance. The musical predication is used as a base of an argument that shows the dynamics of transmission of affects , recognized between enunciator and enunciate: a rhetorical construction practiced by the means of communication cinema. The analysis of the example, The Baptism scene, from the film The Godfather,1972, directed by Francis Ford Coppola, required a creation of an analysis method that was configured in levels, aiming the understanding of cumulations and cadences promoted by the musical predication, and thus, the view of rhetorical figures in the middle. The analysis shows the process of the composition and editing of the scene and its contact effect with the viewer, who assimilate the culturally established codes and presented in relational actions in the narrative. The music is predicator of senses and is used as a constructor of persuasive elements of the cinema.
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Conter, Marcelo Bergamin. „Lo-fi : agenciamentos de baixa definição na música pop“. reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/135476.
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Considerando todos os avanços tecnológicos pelos quais a fonografia passou desde sua invenção, em 1877, por que persistem registros sonoros de baixa definição? Para enfrentarmos essa questão, propomos encarar o lo-fi como um objeto comunicacional, de modo a compreender, a partir de sua linguagem, como ele modeliza a música pop. O lo-fi é reconhecido em senso comum pelo uso de equipamentos de áudio e instrumentos musicais deteriorados, obsoletos ou sucateados. Nesta tese, problematizamos essa noção. Logo de saída, desprendemos o lo-fi do determinismo tecnológico, passando ele a significar outras práticas, linguagens, políticas, estéticas e discursos. Para compreender esse panorama, evitamos uma construção linear ou mesmo histórica. Ao invés disso, mapeamos diversos agenciamentos de baixa definição simultâneos que se processam ao longo da história, circunscrevendo como objeto empírico canções registradas fonograficamente e que promovem algum tipo de desterritorialização do regime de signos institucionalizado pelo mainstream, o que nos leva ao seguinte objetivo geral: compreender o lo-fi como uma virtualidade que age na comunicação fonográfica, isto é, como uma máquina abstrata que não só se diferencia de si própria, mas também produz diferença na música pop. Para dar conta desse objetivo geral, desenvolvemos os seguintes objetivos específicos: (1) evidenciar a presença dos suportes fonográficos, instrumentos musicais e demais aparelhos tecnológicos na paisagem sonora das canções lo-fi; (2) mapear e sintetizar os diferentes sistemas culturais que, postos em relação, edificam a semiosfera de onde o lo-fi emerge como um novo sistema; (3) mapear os territórios de significação agenciados pelas imagens sonoras de baixa definição em canções lo-fi; (4) analisar a capacidade dessas imagens sonoras de promover agenciamentos de baixa definição na música pop; (5) descrever o diagrama da máquina abstrata lo-fi, seus modos de funcionamento e de modelização da música pop. Organizamos as análises em platôs, que percorrem diferentes linhas de variação contínua de significação efetuadas pelos agenciamentos de baixa definição. Ao final, descrevemos os modos de funcionamento da máquina abstrata lo-fi. Ao longo do estudo, também revisitamos e refletimos sobre teorias relacionadas ao assunto, como ecologia acústica, materialidades da comunicação, arqueologia da mídia, afecto, semiótica e a filosofia da diferença de Gilles Deleuze e Félix Guattari. Como resultado, esperamos contribuir para as teorias da comunicação com reflexões referentes às noções de fidelidade, resolução, ruído, percepção sonora e, em especial, para a constituição de um modelo comunicacional micropolítico, reconhecido nos processos de diferenciação de nosso objeto de estudo. A baixa definição, defendemos, manifesta-se entre estados regulares da música pop, desestabilizando seus ritmos regulares, forçando seu núcleo a modificar sua estratégia para lidar com a diferença. Imagens sonoras lo-fi são institucionalizadas pela música pop, mas isso acaba por gerar outras imagens sonoras potenciais. A baixa definição segue, assim, resistindo aos regimes de signos impostos pelos movimentos hegemônicos da música pop, sempre propondo arrebatamentos e estabelecendo modos de comunicar imprecisos, distorcidos, violentos.Considering every technological advance phonographic recording has achieved since its invention in 1877, how come low definition sound recordings still exist (and persist)? To face such question, we treat lo-fi as a communicational object, in order to comprehend, from its language, how it models pop music. Lo-fi is recognized by common sense as the use of either scraped, obsolete, or spoiled audio and/or music equipments. In the present dissertation, we question and problematize such notion. From the start, lo-fi is set loose of its technological determinism, so it can be understood as different practices, languages, politics, aesthetics and discourses. To comprehend such a perspective, we avoid linear or historical approaches. Instead, several simultaneous low definition agencements processed throughout history are mapped, where we look for recorded songs that promote some kind of deterritorialization of the regime of signs institutionalized by the mainstream, which leads us to the following general objective: to comprehend lo-fi as a virtuality that acts on phonographic communication, that is, as an abstract machine that not only differs from itself, but also produces differentiation in pop music as well. To unravel this general objective, we established the following specific objectives: (1) to point out the presence of phonographic supports, musical instruments and other technological devices in the soundscape of lo-fi songs; (2) to map and to synthesize the different cultural systems that, when put in relation to each other, build a semiosphere from where lo-fi emerges as a new system of its own; (3) to map the territories of signification produced by agencements of low definition sound images; (4) to analyze the capacity of such sound images in promoting low definition agencements in pop music; (5) to describe the diagram of lo-fi’s abstract machine, its operating modes and pop music modelizations. The analyses are organized in plateaus that roam different lines of continuous meaning variations elicited by low definition agencements. At the end, we describe the modes of operation of the lo-fi abstract machine. Throughout the research, we also revisit and speculate about theories regarding the subject: acoustic ecology, materialities of communication, media archaeology, affect, semiotics and Deleuze and Guattari’s philosophy of difference. As a result, we expect to contribute to the theories of communication, specially concerning the notions of fidelity, resolution, noise, sound perception and, last but not least, to contribute to the construction of a micro-political communication model, recognized in the processes of differentiation of our object of research. As we advocate, low definition manifests itself between pop music’s regular states, destabilizing its regular rhythms, forcing its core to modify its strategy to deal with the difference. However, pop music institutionalizes lo-fi sound images, but that movement ends up generating other potential lo-fi sound images in the lo-fi system. Therefore, low definition follows, resisting to the regimes of signs imposed by pop music’s hegemonic movements, developing new ways of ravishments and establishing fuzzy, distorted, violent, inaccurate modes of communication.
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Daunoravičienė, Gražina. „"Baltos lankos": Texte und Interpretationen - Almanach der Musiksemiotik, Vilnius (Baltos lankos), 1997, 246 S. (litauisch) [Rezension]“. Musikgeschichte in Mittel- und Osteuropa ; 5 (1999), S. 205-210, 1999. https://ul.qucosa.de/id/qucosa%3A15668.
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Die neunte Nummer des Almanachs "Baltos lankos" ist der Musiksemiotik gewidmet. Der Almanach "Baltos lankos" wurde von dem der Gründer der französischen Semiologieschule, dem Litauer Algirdas Julius Greimas, ins Leben gerufen.
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Olivier, Ryan. „MusicaSpeculativa-PartII-MultimediaConcertWork.pdf“. Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/330327.
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Music CompositionD.M.A.
Musica Speculativa is a final project in two parts in which I explore, through both theory and practice, the role of metaphors in our understanding of reality with special attention given to the use of visual representation in multimedia concert works that employ electroacoustics. Part I, entitled, "Imaginary Cognition: Interpreting the Topoi of Intermedia Electroacoustic Concert Works," explores how metaphors play a core role in our musical experience and how aural metaphors can be enhanced by and ultimately interact with visual metaphors to create a contrapuntal intermedia experience. Part II, "Musica Speculativa: A Multimedia Concert in Five Movements and Three Intermezzi," for mezzo-soprano, flute, B-flat bass clarinet, violin, cello, piano, a percussionist performing an array of lightning bottles, a dancer with a gesture-sensing wand, and a technologist operating interactive audio and video processing, focuses on the medieval philosophy of Musica Speculativa and how it relates to our current understanding of the world. In part I explore the heightened experience of metaphorical exchange through the utilization of multimedia. The starting point is the expansion of visual enhancement in electroacoustic compositions due to the widespread availability of projection in concert halls and the multimedia expectations created through 21st-century Western culture. With the use of visual representation comes the potential to map musical ideas onto visual signs, creating another level of cognition. The subsequent unfolding of visual signifiers offers a direct visual complement and subsequent interaction to the unfolding of aural themes in electroacoustic compositions. The paper surveys the current research surrounding metaphorical thematic recognition in electroacoustic works whose transformational processes might be unfamiliar, and which in turn create fertile ground for the negotiation of meaning. The interaction of media and the differences created among the various signs within the music and the visual art create a heightened concert experience that is familiar to and in many ways expected by contemporary listeners. Composers such as Jaroslaw Kapuscinski have sought to use multimedia as a means to enhance the concert experience, giving movement to the acousmatic presence in their electroacoustic works. In turn, these works create a concert experience that is more familiar to the 21st-century audience. Through examining Kapuscinski's recent work, Oli's Dream, in light of cognitive research by Zbikowski (1998 & 2002), topic theory by Agawu (1991 & 2009), and multimedia research by Cook (1998), I propose a theory for analyzing contrapuntal meaning in multimedia concert works. The themes explored in Part I, regarding the use of metaphor to interpret both visual and aural stimuli, ultimately creating a metaphor for a reality never fully grasped due to the limits of human understanding, are further explored artistically in the multimedia concert work, Musica Speculativa. The medieval philosophy of Musica Speculativa suggests that music as it is understood today (musica instrumentalis) is the only tangible form of the metaphysical music ruling human interactions (musica humana) and ordering the cosmos (musica mundana). I found the concept of Musica Speculativa to be a fitting metaphor for how music and art allude to our own perception of reality and our place within that world. The project as a whole re-examines the concept of Musica Speculativa in light of our current technological landscape to gain a deeper understanding of how we interact with the world around us.
Temple University--Theses
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Sbabo, Alexandre Provin. „Semiótica sincrética dos jingles: uma análise dos jingles nas mídias audiovisuais“. Pontifícia Universidade Católica de São Paulo, 2015. https://tede2.pucsp.br/handle/handle/4713.
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Previous issue date: 2015-06-03This research examines the soundtrack and the syncretic elements, responsible for the meaning of jingles. What role these elements play in relation mainly to the persuasive function and assignment meaning of the message proposal? This is the main question of this research. The prominent position and the function of these components in the advertising are indicators of the importance of this study, investigated based on semiotic theories and theories of musical melody, arrangement, composition and harmony. Unifying the semiotic and musical elements, we seek therefore to identify the means used and the patterns that are able to explain the persuasive gains that advertising acquires in jingles. The semiotic analysis has its basis in the work of Charles Sanders Peirce, because his classifications of signs enable accurate reading of mixtures between text, image and sound in jingles. We also use the greimasian discursive semiotics and tensive semiotics, marked by Luiz Tatit, because it is a work that brings important contributions to musical semiotics. Music theorists are also triggered to unravel, in the jingle, their musical structures, such as arrangement, melody, harmonic field, etc. The corpus of research is the campaign developed by the company PA Publicidade, produced by Conspiração Filmes and composed by Panela Produtora, to the Pão de Açúcar Group, with the participation of the singer Clarice Falcão, because it is a series of intersemiotics jingles both aired on television and Internet, and the company have aimed exclusively jingles to your online channel
Esta pesquisa examina a trilha musical e os elementos sincréticos, responsáveis pelo sentido, dos jingles publicitários. Que papel esses elementos desempenham no que tange, principalmente, à função persuasiva e à atribuição de sentido da mensagem proposta? Esta é a questão central desta pesquisa. A posição de destaque e a função desses componentes nas peças publicitárias são indicadores da importância desse estudo, investigado com base em teorias semióticas e teorias musicais de melodia, arranjo, composição e harmonia. Unificando os elementos semióticos e musicais, busca-se, portanto, identificar os meios utilizados e os padrões gerados que sejam capazes de explicitar os ganhos persuasivos que a publicidade adquire nos jingles. As análises semióticas tem sua base na obra de Charles Sanders Peirce, pois suas classificações de signos possibilitam a leitura acurada das misturas entre o texto, a imagem e o som nos jingles. Também utilizamos a semiótica discursiva greimasiana e tensiva, pautada por Luiz Tatit, pois se trata de uma obra que traz contribuições importantes para a semiótica da canção. Teóricos da música também são acionados para desvendar, no jingle, suas estruturas musicais, como arranjo, melodia, campo harmônico, etc. O corpus da pesquisa é a campanha desenvolvida pela empresa PA Publicidade, com produção da Conspiração Filmes e composição da Panela Produtora, para o Grupo Pão de Açúcar, com participação da cantora Clarice Falcão, por se tratar de uma série de jingles intersemióticos veiculados tanto na televisão quanto na internet, e pela empresa possuir jingles voltados exclusivamente ao seu canal online
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Rei, Cláudio Artur de Oliveira. „A Herança estilística das cantigas de amigo na lírica de Chico Buarque“. Universidade do Estado do Rio de Janeiro, 2007. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=443.
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Esta tese desenvolve uma análise estilística de algumas letras de Chico Buarque, com os objetivos de: mostrar uma herança estilística medieval presente em algumas letras, no que tange ao aspecto lírico; produzir um quadro estilístico-semântico com marcações semióticas que orientam a interpretação das escolhas lexicais que caracterizam um resquício medieval do autor na obra estudada; e mostrar a importância da inter-relação entre som e expressividade, aliados ao valor semântico das palavras, selecionadas conforme o eixo paradigmático, e combinadas, segundo o eixo sintagmático, para dar nova significação às palavras, as quais se concretizam em ambigüidade, a seu turno, fonte de plurissignificação. Os pressupostos das diferentes teorias estilísticas com um apoio subliminar da Semiótica de Peirce servem de moldura para a leitura dos textos musicais, demonstrando-lhes o potencial indicial, simbólico e semântico captáveis nas letras de música de Chico Buarque, além de identificar-lhe o estilo pessoal e documentarem a malemolência expressivo-comunicativa da língua portuguesa que vem desde as cantigas medievais.This work presents a stylistics analysis Chico Buarques lyrics songs., objectifing show a stylistics-semantic medieval heritage present in some lyric songs. This study aims to produce a stylistics-semantic sight linguistic with semiotic inclination which steer the interpretation of the lexical choices that characterize a medieval grain in this author and his particular style. It shows clearly the importance of the inter relationship between sound and expressiveness, backed by the semantic value of the words, which are selected according to the paradigmatic axis, and which are matched according to the sintagmatic axis with the aim of creating difficulties to the reader. Thus these words end up in ambiguity which is in itself the source to multi signification. The supports of the different stylistics theories with a hidden aid of Peirces Semiotics are used as a guide to reed musical texts, demonstrating the iconic, index and symbolical and semantic potentials in the reading of these song lyrics. Then to show the linguistic performance of Chico Buarque and the expressive and communicative potential of Portuguese language which has come from the medieval ditties.
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Diener-Bennett, Jesse. „Six Embers“. Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1554645065671533.
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Copeland, Ian R. „Educate, Inspire, Change: A Musical Ethnography of World Camp, Inc“. Oberlin College Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1323129593.
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Erika, Hammarberg. „Symfoniorkester eller storband? : En jämförande studie av symfoniorkester- och storbandsdirigenter“. Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3333.
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Studiens syfte var att undersöka hur dirigenter för symfoniorkester och storband använder olika tecken i sin kommunikation samt att se om det fanns tydliga likheter och skillnader mellan de olika orkesterformerna. I studien har ett socialsemiotiskt och multimodalt perspektiv använts. Dirigenterna har analyserats utifrån bland annat vilka teckensystem de använder i sin kommunikation med musikerna. Videoobservation har använts som metod och materialet har tagits från siten www.youtube.com Urvalet har bestått i inspelningar av världskända professionella dirigenter som dirigerar professionella orkestrar, några av de bästa inom sitt fält. Resultatet påvisar att dirigenterna ofta använder många teckensystem simultant. Dirigenterna använder en del gemensamma tecken men även många personliga tecken för sin kommunikation. Det framkom vissa skillnader mellan genrerna men då resultaten även skiljde sig mellan dirigenterna inom samma genre krävs mer studier för att ge ett slutgiltigt resultat. Överlag behövs fler studier på dirigering inom storbandsorkester.The aim of this study was to investigate how conductors representing two different orchestral traditions - the symphony orchestra and big band- use different signs for communication and to explore whether there are any clear differences and similarities between them. Throughout the analysis, a social semiotic and multimodal perspective was applied. The conductors have been analysed by which signs they use when communicating with the musicians. Video observation was used as a method and the material has been retrieved from www.youtube.com. The selection contains recordings of professional and world-famous conductors, working with world renowned orchestras. The result of the study seems to reveal that the conductors utilize and communicate with many sign systems simultaneously and that they use mutual signs as well as personal signs when communicating. There were differences between the two genres but also between conductors within the same genre so further studies are needed to establish a more thorough conclusion. Overall, there is a need for further and larger studies regarding big band orchestras.
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Oliveira, Luciana David de. „Signos e Metáforas na Comunicação da Música“. Pontifícia Universidade Católica de São Paulo, 2007. https://tede2.pucsp.br/handle/handle/4891.
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Previous issue date: 2007-05-14The key questions that triggered this research were: does music communicate anything? what does it communicate? is that communication metaphorical? The communication theme in music, which is a non-verbal language and, perhaps, the most intransitive of the arts through its evident independence in relation to the factic world and intense vagueness of its object, will be approached in this dissertation having Peirce s Semiotics as a tool, not only for epistemological support, but, also, to represent the theoretical kernel of the phenomenon of communication. In the first chapter we will present a synthesis of the evolution of musical language, seen through the history of music and through Semiotics, highlighting the application of this science to music. In the second chapter, with the help of José Luiz Martinez, Ivo Assad Ibri and Lucia Santaella, we will delve into Peirce s Semiotics with the aim of placing it in the context of Peirce s larger theoretical edifice, proceeding to its subsequent application to the object of research, encompassing the identification of the kinds of signs, objects and interpretants in the music millieu. In the third chapter, with the aid of theoretical tools honed by Ivo Ibri and Carl Hausman, emphasis will be given to the question of the object of music and its iconic, polissemic and metaphorical character, under a more philosophical viewpoint, with the intention of understanding, through Peirce s categorical symmetry, how the dynamical object originates in the mind of the listener through the use of metaphors. These, being third of firstness signs, supply meaning to music, besides being fundamental to close the semiotic triad sign-object-interpretant. In the last chapter, Peirce s Semiotics will consubstantiate a semiotic analysis of Heitor Villa-Lobos Bachianas Brasileiras # 4 , whose choice derived from the fact that this music piece is a metaphorical sign both in Bach s opus and in Brazilian music, something that makes the understanding of the metaphor a lot easier, that is, in the light of the theoretical system previously exposed, as being a relation of meanings that merge in the mind of the interpretant, thus producing something new. All this research work and the subsequent application of the theories makes one realize how much music communicates through the action of signs and the creation of metaphors
A proposta inicial para esta pesquisa partiu das seguintes questões: A música comunica algo? O que ela comunica? Essa comunicação é metafórica? O tema da comunicação na música, que é linguagem não-verbal e, talvez, a mais intransitiva das artes por sua evidente independência em relação ao mundo fático e intensa vagueza de seu objeto, será abordado nesta dissertação tendo como instrumento de análise a Semiótica de Charles Sanders Peirce, não apenas por constituir sustentação epistemológica, mas, também, por representar o cerne teórico do fenômeno da comunicação. No primeiro capítulo desse trabalho buscamos apresentar uma síntese da evolução da linguagem musical, vista pela história da música e pela Semiótica, destacando-se a aplicação desta ciência à música. No segundo capítulo, com o auxílio de autores como José Luiz Martinez, Ivo Assad Ibri e Lucia Santaella, aprofundamos o a Semiótica peirciana, com o intuito de situá-la no contexto do arcabouço teórico de Peirce, procedendo à sua subseqüente aplicação ao objeto de pesquisa, abrangendo identificação dos tipos de signos, objetos e interpretantes no âmbito da música. No terceiro capítulo, adotando como instrumental teórico os autores Ivo Assad Ibri e Carl Hausman, se deu ênfase à questão do objeto da música e seu caráter icônico, polissêmico e metafórico, sob um ângulo mais filosófico, com a intenção de compreender, por meio da simetria categorial de Peirce, como se cria o objeto dinâmico na mente do ouvinte mediante a utilização das metáforas. As metáforas, que são signos de terceira primeiridade, proporcionam significados para a música, além de serem fundamentais para o fechamento da tríade semiótica signo-objeto-interpretante. No último capítulo, a Semiótica de Peirce consubstanciou uma análise semiótica das Bachianas Brasileiras nº 4 , de Heitor Villa-Lobos, cuja escolha decorreu de ser essa peça musical um signo metafórico da obra de Bach e da música brasileira, o que facilitou, e muito, a compreensão da metáfora, à luz do sistema teórico previamente exposto, como sendo uma relação de significados que se fundem na mente interpretante, criando-se algo novo. Todo esse trabalho de pesquisa e aplicação das teorias fez perceber o quanto a música comunica, por meio da ação dos signos e da criação das metáforas
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Arrais, Marcos Augusto Galvao. „A música de Hermeto Pascoal uma abordagem semiótica“. Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-01082007-144148/.
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O trabalho consiste na análise do processo de construção do sentido, a significação, na linguagem musical do compositor Hermeto Paschoal, por meio da Teoria Semiótica de linha francesa fundada por A. J. Greimas. Estudar a música instrumental, através da abordagem semiótica greimasiana, coloca-nos diante de uma série de questões teóricas, relativas à possibilidade de um sentido definido no plano de expressão, bem como à própria definição de sentido que procuramos desenvolver. Segundo a orientação que tomamos, procuramos verificar as possibilidades e os limites da teoria semiótica quando aplicada às linguagens abstratas, no nosso caso, a linguagem musical. Além dos problemas teóricos, encontramo-nos diante do desafio de investigar a intrigante música de Hermeto Paschoal que, se por um lado é realmente complexa, por outro, a capacidade do compositor transformar em música qualquer dado sonoro e criar incessantemente sobre todos os parâmetros do som, como altura, duração, intensidade e timbre, faz de sua obra um objeto muito rico para o trabalho que pretendemos desenvolver. Mais que isso, Hermeto vale ser estudado pela sua importância na cultura brasileira e no cenário da música internacional, tanto quanto pelo grande valor estético de sua arte. Embora nossa proposta seja a de investigar os problemas relativos ao plano da expressão e estudar a Teoria Semiótica aplicada linguagem musical, orientamo-nos, mais simplesmente, pela curiosidade de compreender o que ?diz? a música de Hermeto Paschoal, e pela convicção de que as sonoridades da música instrumental fazem sentidoThis study analyzed the construction process of meaning of the musical language of Hermeto Paschoal\'s instrumental music using the A.J. Greimas\' semiotics theory. The evaluation of instrumental music using Greima\'s semiotic approach raises many theorical questions regarding the possibility of a defined meaning on the plan of expression, as well as the definition of meaning by itself, which we tried to develop. According to direction that we followed, we tried to verify the possibilities and limits when the Semiotic Theory is applied to abstract languages, such as the musical language. Besides the theoric issues, we faced the challenge of investigating the intriguing Hermeto Paschoal\'s music, which may be considerably complex, but on the other hand is an extremely rich object to be evaluated considering the composer\'s ability to convert to music any sound, and to incessantly create music varying all parameters such as volume duration, intensity and timbre. Furthermore, the study of Hermeto Paschoal\'s music is valuable not only because of the esthetic quality, but also due to its remarkable importance for the Brazilian culture and the International musical scenario. Although our aim is to investigate the issues related to the expression field and to study the Semiotic Theory applied to the musical language, we more simply attempted to focus and comprehend the meaning of Hermeto Paschoal\'s music and confirm the evidence that the sounds created on the instrumental music have a meaning
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Molinari, Paula Maria Aristides de Oliveira. „Alfred Wolfsohn na obra de Charlotte Salomon: uma cartografia que emerge da voz“. Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/4600.
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The analysis of Charlotte Salomon s work is a cartographic path of the application of Alfred Wolfsohn s ideas. We propose the reading of this artistic text for the course of a possible cartography that exposes the voice as compositional and aggregating unit of the various senses in the expressive synthesis that is perceivable in its imagistic orality. In the process of transcription of Alfred Wolfsohn s manuscript to the work of Charlotte Salomon s, the voice drives new ways of sensitive communication, beyond the meanings of verbal language, seen as it gives visibility to the flux of emotions, potentiating the relationship between art and life, body and environment, education and communication. In the reading of Charlotte Salomon s work and Alfred Wolfsohn s manuscript, there is a pedagogic proposal that takes place through the voice and which is not present in each individual work. Conferring aspects of both works, a study of the voice is delineated as a path to a technique that tries for the transit of emotions. The voice appears as mediation of the exterior world and human interior and potentiates the translation of the experienced into work of art and which can be read so as to concur to the comprehension of the semiosis that take shape in this artistic text. The goals are: (i) to intersemioticaly translate, through Charlotte Salomon s work, the legacy of Alfred Wolfsohn s from the perspective of the relationship between communication, visualities and intersubjectivities, in a dialoguing action between the visual work and the manuscript, seeking (ii) to introduce an analysis of Charlotte Salomon s work and Alfred Wolfsohn s legacy into the academic medium under the light of the culture semiotics. From many layers and semiotically heterogeneous, capable of entering complex relationships with the environment cultural context as well as the reader, the paper is no longer an elementary message displaying the ability of condensing information. It acquires memory and so, in the memory of a Latin-American reality, the artistic text reforms itself and gains other meanings, which will uncover a possible comprehension of the voice as a pedagogical path. The transcreation from one text to another is leitmotiv of this investigation
A análise da obra de Charlotte Salomon é um caminho cartográfico da aplicação das ideias de Alfred Wolfsohn. Propomos a leitura desse texto artístico para o trajeto de uma cartografia possível que expõe a voz como unidade composicional e agregadora dos diversos sentidos na síntese expressiva que se faz perceptível em sua oralidade imagética. No processo de transcriação do manuscrito de Alfred Wolfsohn para a obra de Charlotte Salomon, a voz aciona novos modos de comunicação sensível, para além dos significados da linguagem verbal, uma vez que dá visibilidade ao fluxo das emoções, potencializando a relação entre arte e vida, corpo e ambiente, educação e comunicação. Na leitura da obra de Charlotte Salomon e do manuscrito de Alfred Wolfsohn, existe uma proposta pedagógica que se dá por meio da voz e que não está em cada obra isolada. Cotejando-se aspectos de um texto e outro, se delineia um estudo da voz como caminho para uma técnica que enseja o trânsito das emoções. A voz aparece como mediação do mundo exterior e interior humano e potencializa a tradução do vivido em obra de arte e que pode ser lida de modo a concorrer para a compreensão das semioses que se concretizam nesse texto artístico. São objetivos: (i) traduzir intersemioticamente, pela obra de Charlotte Salomon, o legado de Alfred Wolfsohn a partir da perspectiva da relação entre comunicação, visualidades e intersubjetividades, numa ação dialogante entre a obra visual e o manuscrito, buscando (ii) apresentar ao meio acadêmico uma análise da obra de Charlotte Salomon e o legado de Alfred Wolfsohn à luz da semiótica da cultura. De muitos estratos e semioticamente heterogêneo, capaz de entrar em complexas relações tanto com o contexto cultural do entorno como com o próprio leitor, o texto deixa de ser uma mensagem elementar mostrando a capacidade de condensar informação. Adquire memória e, assim, na memória de uma realidade latino-americana, o texto artístico se refaz e ganha significados outros, que abrirão uma possível compreensão da voz como caminho pedagógico. A transcriação de um texto a outro é leit motiv desta investigação
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Jaksch, Beatrice. „Semiotik i musik : En studie i hur textanalys kan styra musikproduktion“. Thesis, Örebro universitet, Musikhögskolan, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-77857.
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Machado, Regina. „Da intenção ao gesto interpretativo: análise semiótica do canto popular brasileiro“. Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-02082012-132557/.
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A canção popular brasileira, principal produto da nossa cultura midiática, vem obtendo reconhecimento nos meios acadêmicos nesses últimos anos, justificando o desenvolvimento de uma prática descritiva que se dedica a analisá-la: a Semiótica da Canção, desenvolvida por Luiz Tatit. Curiosamente, no entanto, o canto popular, principal veículo de manifestação dessa canção, só agora começa a despertar o interesse de pesquisadores. Este trabalho pretende, partindo da aplicação da Semiótica da Canção e a ela acrescentando uma terminologia adequada à percepção descritiva do comportamento vocal, analisar algumas das principais vozes do Brasil, com base na escuta de fonogramas. Procuramos, assim, traduzir o que denominamos Qualidade Emotiva das vozes, na tentativa de desenvolver uma descrição analítica que superasse o juízo de valor ou a mera adjetivação.During the last years, Brazilian popular song, which are the main product of our media culture, is obtaining recognition among the academic environment, justifying the development of a descriptive practice that is dedicated to analyze it: The Song Semiotics developed by Luiz Tatit. However, it wasnt until now, that popular singing, which is the main means of these songs manifestation, started to awake researchers interest. Starting on The Song Semiotics and adding to it an appropriate term for the descriptive perception of the vocal behavior, this work intend to analyze some of the main Brazilian voices, based on phonograms listening. We will try this way to express what we call Voices Emotive Quality, in an effort to develop an analytic description that overcomes any judgment or mere qualification.
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BROWN, BREIGHAN MOIRA. „“Transforming Chaos”: Modes of Ambiguity in Tchaikovsky’s Symphony No. 5 in E Minor“. University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1187004301.
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