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1
Tarasti, Eero. „Musical Semiotics – a Discipline, its History and Theories, Past and Present1“. Recherches sémiotiques 36, Nr. 3 (20.09.2018): 19–51. http://dx.doi.org/10.7202/1051395ar.
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Musical semiotics begins from the premise that music is a signifying phenomenon. However, the field itself has developed according to two distinct paths. The first one starts by considering music and its history. In the study of classical music, for instance, it will begin by considering rhetoric and affect during the Baroque period and then move to consider the topics of the Classical style or the interartistic aspects of Romanticism. The other path consists instead of applying general semiotic theories to music. A more proper approach, I believe, lies somewhere in the middle : it ought to configure general semiotic concepts to the special or historical problems of music. In this essay I give examples from my own work borrowing methodology from the Paris School of Semiotics developed by Greimas and from my own Existential Semiotics model.
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Abdullah, Farid. „SEMIOTIKA = ILMU ATAU METODE : TELAAH BUKU ' HANDBOOK OF SEMIOTIK', WINFRIED NOTH, 1995“. Jurnal Dimensi Seni Rupa dan Desain 8, Nr. 2 (01.09.2011): 1–10. http://dx.doi.org/10.25105/dim.v8i2.965.
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AbstractThis paper is about Winfried Noth book, title " Handbook of Semitics," 1995. A handbook with ambitious objevtives of dealing with a broad field specturm of research, ranging from Advertising, Architecture, Comic, Photography, Music, Visual Communication , to Zoosemiotics. Aims to this book, as the author describe, s adventurous goal of a topographical survey, of some main areas of theoritical and applied semiotics. In this book, the approach to semiotic adopted is basically descriptive and pluratistic. The history aspect, the present state of the art, intends to be a systematic, comprehensive, and up to date. To understand this handbook, we must be a critical reader and at the end we can draw our own critical conclusion AbstrakTulisan ini adalah ulasan terhadap buku Winfries Noth yang berjudul " Handbook of Semiotics" terbit tahun 1995. Sebagai buku pegangan tentang semiotika, buku ini memiliki rentang kajian yang sangat ambisius, dengan cakupan bidang yang dikaji dari periklanan, arsitektur, komik, fotografi, musik, komunikasi visual, hingga tanda yang dikirimkan oleh hewan. Tujuan dari buku ini seperti yang diuraikan penulisnya, semacam pemetaan dalam semiotika teoritik dan terapan. Pada buku ini ,pendekatan semiotik yang dipakai adalah deskriptif dan pluratistik. Aspek sejarah seni, berusaha disusun secara sistematis, menyeruluh, dan kekinian. Untuk memahami buku pegangan ini,sebagai pembaca kita harus meletakakan diri sebagai pembaca yang kritisdan akhirnya kita dapat memperoleh kesimpulan yang kritis pula
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Tomasevic, Katarina. „Dragutin Gostuski and the semiotics of music“. Muzikologija, Nr. 22 (2017): 177–97. http://dx.doi.org/10.2298/muz1722177t.
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The main goals of this article, devoted to the contribution of the prominent Serbian musicologist, composer and aesthetician Dragutin Gostuski (1923-1998) to the semiotics of music, are the following: 1) to show the evolution of semiotic ideas in Gostuski?s work; 2) to reconstruct the circumstances under which preparations for the First International Colloquium on the Semiotics of Music took place; and 3) to encourage new research that would re-examine Gostuski?s major theoretical opus in the historical context of the discipline.
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Romero, Brenda M. „Musical Semiotics as a Tool for the Social Study of Music. By Óscar Hernández Salgar. Translated by Brenda M. Romero.“ Ethnomusicology Translations, Nr. 2 (01.07.2016): 1–33. http://dx.doi.org/10.14434/emt.v0i2.22335.
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Recent studies on musical signification have been characterized by an apparently insurmountable gap between disciplines that focus on the musical text as sound (music theory, musicology), those that focus on the hearing subject (cognitive sciences, psychology of music), and those that focus on social discourses about music (ethnomusicology, anthropology, sociology). This article argues that the most recent theoretical advances in music semiotics provide means to overcome this gap. After a brief examination of some key concepts in music semiotics, the author identifies three approaches to this problem: the semiotic-hermeneutic approach, the cognitive-embodied approach, and the social-political approach. This classification allows him to introduce a brief methodological proposal for the study of musical signification from different academic perspectives.Originally published in Spanish in Cuadernos de Música, Artes Visuales, y Artes Escénicas 7, no. 1 (January 2011):39-77.
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HOOPER, GILES. „A Sign of the Times: Semiotics in Anglo-American Musicology“. Twentieth-Century Music 9, Nr. 1-2 (März 2012): 161–76. http://dx.doi.org/10.1017/s1478572212000242.
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AbstractThis article provides a critical account of the appropriation of semiotics in Anglo-American musicology, its theoretical and discursive foundations, and its impact on the discipline in the period from the mid-1970s to the present. Starting out from the work of Jean-Jacques Nattiez and Philip Tagg in the 1970s, it traces two principal approaches in music semiotics, here termed the ‘structural–analytical’ and the ‘semantic–interpretative’, which draw in significant measure on, respectively, the Saussurean and Peircean legacies. Both differences of musicological tradition and the wider state of the discipline have a part to play in explaining why semiotics never established itself as a discrete and distinctive subfield in the English-speaking world in the way that it did in continental Europe. But with the increasing currency of, among other concerns, topic theory, theories of emotion and affect, and studies of musical gesture and metaphor, it might be argued that semiotics – or, rather, an interdisciplinary aggregation of approaches that might be termed ‘post-semiotic’ – has never had a stronger presence in anglophone musicology than at the present time.
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Rozin, Vadim Markovich. „Semiotics as a philosophical and methodological, natural science and mathematical discipline (main stages of development and perspective)“. Философия и культура, Nr. 6 (Juni 2022): 66–81. http://dx.doi.org/10.7256/2454-0757.2022.6.38261.
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The article examines the history of the development of the ideas of semiotics, from the works of St. Augustine to the present. The author shares the semiotic approach, which, judging by the literature, was formulated by Augustine, and semiotics as a scientific discipline, and in two versions, as an analogue of mathematics and natural science (we are talking about the "second nature", which is studied in the humanities and social sciences). The characteristic of the semiotic approach presented by Augustine in the scheme is given, which, the author shows, can be extended to various humanitarian objects (this is specifically demonstrated with respect to music). Based on the semiotic approach and classifications of signs, various variants of semiotics as a science were created in the XIX and XX centuries. The difference of scientific semiotics is explained: semiotics solved different problems and tasks, semiotically comprehended different subject areas, proceeded from a different understanding of science. Nevertheless, in all variants of semiotics, relations between the components of the sign were established. The semiotics reform project proposed by G.P. Shchedrovitsky is considered, and what came of it (another semiotics, and not the organization of different scientific semiotics on a single basis of the theory of activity). Based on the analysis of two cases (the semiotic analysis of the metaphor in the work of Meir Shalev "Esav" and the sculpture of Aphrodite Praxiteles), the author outlines another version of semiotics, which he calls "expressionism". Although the methodology proposed by him allows analyzing and comprehending a fairly wide range of expressions and works of art, the author suggests not to consider it universal.
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Crnjanski, Nataša. „Is that a new language coming?“ Rasprave Instituta za hrvatski jezik i jezikoslovlje 44, Nr. 2 (2018): 373–84. http://dx.doi.org/10.31724/rihjj.44.2.2.
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Music semiotics is a branch of music theory that has been particularly developing since the 1960s. As semiotics moved from general linguistics, structuralism and theory of communication to cognitive and psychological linguistics, as sources of understanding music cognition – that is, as it moved from “hard” to “soft” semiotics as Agawu calls them (1999: 154) – its vocabulary became strongly metaphoric and complex. At the same time, there was no strict convention concerning the usage of the vocabulary in question. In this paper, I will focus on some important interrelated issues of music semiotics vocabulary, such as the concept of meaning, and all rhetorical variations regarding this term in music. Special attention will be given to explanation of terminological issues of the two most prominent “languages” of music semiotics, that of Robert Hatten and Eero Tarasti.
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Leman, Marc, und Raymond Monelle. „Linguistics and Semiotics in Music“. Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap 51 (1997): 213. http://dx.doi.org/10.2307/3687197.
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Hatten, Robert S., und Raymond Monelle. „Linguistics and Semiotics in Music“. Notes 50, Nr. 3 (März 1994): 1002. http://dx.doi.org/10.2307/898579.
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Amalia, Anindita Fikri, Nurdien Harry Kristanto und Sukarjo Waluyo. „Semiotika Nonverbal dalam Musik Video “Azza” Karya Rhoma Irama (Kajian Semiotika Roland Barthes)“. Diglosia: Jurnal Kajian Bahasa, Sastra, dan Pengajarannya 5, Nr. 4 (01.11.2022): 731–48. http://dx.doi.org/10.30872/diglosia.v5i4.494.
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This study aims to describe non-verbal semiotics and its relation to Roland Barthes' semiotics, namely connotation and denotation. This research with the object of the study of the music video "Azza" by Rhoma Irama uses qualitative research methods to find non-verbal semiotics contained in the object of study. The results of this study, namely in the music video "Azza" by Rhoma Irama, there are seven body signs, namely (a) signals; (b) facial expressions; (c) eye contact; (d) body language; (e) touch; (f) cue; and (g) dance. It is also related to Roland Bathes' semiotics. Signs expressed in the music video have connotative and denotative meanings that the singer wants to convey through his music and videos. The connotative meaning in the music video "Azza", sung by Rhoma Irama, can be seen in the scenes glorifying God's power.
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Giraldo, Veronica. „Referential iconicity in music and speech“. Public Journal of Semiotics 9, Nr. 1 (25.02.2020): 41–77. http://dx.doi.org/10.37693/pjos.2019.9.20283.
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Musical meaning is multifaceted. It is highly sensory and yet often abstract; able to cross cultural boundaries and yet embedded in specific traditions. For the most part music as a semiotic system is characterized by non-referential meaning (Monelle, 1991). Nevertheless, in so-called programmatic music, musical themes are intended to refer to worldly objects and events on the basis of iconic (and indexical) grounds. Such non-arbitrariness has been extensively documented in the case of speech as well (Ahlner and Zlatev, 2010; Sonesson 2013; Imai and Kita, 2014).
In an experimental study, I investigated how referential iconicity in speech operates in comparison to music, considering the factors (a) primary/secondary iconicity and (b) linguistic/cultural background. In the experiment 21 Swedish and 21 Chinese native speakers had to match musical fragments from Prokofief’s Peter and the Wolf and spoken word-forms to objects, represented by schematic pictures. The experiment was designed to have two conditions to operationalize higher degree of primary and secondary iconicity, respectively.
The results showed that there was no significant difference between the overall results for music and linguistic tasks, indicating that the cognitive-semiotic processes involved are not limited to a single cognitive domain or semiotic system. Both groups performed significantly above chance in both conditions, which serves as a clear indicator that interpreting referential music in music and speech sounds is not purely a case of secondary iconicity.
Author Biography
Verónica Giraldo’s academic background is in music and linguistics. She holds an MA in Language and Linguistics with specialization in Cognitive Semiotics from Lund University. The work presented derives from her master’s thesis project. One of her main interest is exploration of the possible correlations between language and music from the perspective of cognitive semiotics. She is currently researching on how to make visual art and museums more accessible to the blind and visually impaired community.
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Mirka, D. „Mozart and Enlightenment Semiotics“. Journal of Music Theory 58, Nr. 1 (01.03.2014): 67–77. http://dx.doi.org/10.1215/00222909-2413589.
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Mitić, Marjan. „Musical discourse in the theory of musical semiotics“. Sinteze, Nr. 19 (2021): 37–48. http://dx.doi.org/10.5937/sinteze10-34232.
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Music is an abstract language that is constantly evolving, and in this connection, one of the possible approaches to the interpretation of music as a discourse concerns the issues of the relatedness of music and speech, that is, the language of music and language of speech. In this way, the relationship between musical discourse and the musical thought of the composer and speech as a product arising from the opinions of the speaker is established. In this paper, through the examination of discourses on music as a product of human activity, which are recognized in different cultures in different ways, one considers the way in which individual works, the phenomenon of music and the forms of human behaviour caused by music can be interpreted. The aim of the paper is to emphasize the importance of a generative approach to the understanding of tonality through a critical consideration of the semiological approach for understanding the language of music, and to provide an insight into the similarities between music and language.
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Miharti, Santi, und Fitrawati Fitrawati. „Multimodal Analysis in Cigarette Advertisements“. English Language and Literature 11, Nr. 3 (14.09.2022): 365. http://dx.doi.org/10.24036/ell.v11i3.119103.
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Abstract Multimodality is a term widely discussed by linguistics and semiotics. It means the combination of different semiotic modes, for example, language and music in a communicative artifact or event (Leeuwen, 2005). In this research, the researcher examines multimodal advertising for cigarette products. The cigarette products named is Djarum 76 and Sampoerna Kretek. This research is intended to 1) how semiotic systems in Djarum 76 and Sampoerna Kretek advertisements express meaning? 2) What is the generic structure placed in both advertisements? 3) What are the differences between semiotic systems in Djarum 76 and Sampoerna Kretek cigarette’s audiovisual advertisements? This research used the descriptive qualitative method. Analysis in this research using the semiotics approach focused on multimodal systems that include linguistic, visual, audio, and gestural aspects. Linguistic analysis using Systemic Functional Linguistic by (Halliday, 2004), visual, audio, and gestural analysis using Anstey and Bull (2010) theories, and Choeng (2004) formulation of generic structure potential for print advertisement. Keywords: Multimodality, advertisement, cigarette product, semiotic systems
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Ni Putu Meira Purnama Yanti, I Nyoman Sujaya und Mirsa Umiyati. „Multimodal Semiotics in Cosmetic Advertisement“. RETORIKA: Jurnal Ilmu Bahasa 8, Nr. 2 (24.10.2022): 173–82. http://dx.doi.org/10.55637/jr.8.2.4866.173-182.
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This research deals with the elements of multimodal semiotics and the meaning of beauty. The theory used in this research was the multimodal semiotics theory by Kress and Leewuen (2011) in their book entitled Multimodal Discourse Analysis. The method applied in this research was a descriptive qualitative method. Based on data analysis, it was found that cosmetic advertisements have various multimodal semiotics such as verbal, visual, gestural, and audio. Verbal elements in the form of speech and writing which are dominated by declarative sentences. Visual elements refer to female figures in advertisements and other things with certain color. Gesture elements include smiling facial expressions, sparkling eyes, touching skin, and other movements. Audio elements come from bee sound effects, traditional Javanese music sounds, and so on. Meanwhile, the meanings of beauty conveyed through the multimodal semiotic elements refer to the meaning of physical beauty such as olive skin, white skin like jicama fruit, thick and beautiful hair, stormy hair, and graceful attitude.
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Bakogiannis, Konstantinos, und George Cambourakis. „Semiotics and memetics in algorithmic music composition“. Technoetic Arts 15, Nr. 2 (01.06.2017): 151–61. http://dx.doi.org/10.1386/tear.15.2.151_1.
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Rousi, Antti Mikael, Reijo Savolainen und Pertti Vakkari. „A typology of music information for studies on information seeking“. Journal of Documentation 72, Nr. 2 (14.03.2016): 265–76. http://dx.doi.org/10.1108/jd-01-2015-0018.
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Purpose – A need to renew music-related information notions arises from both information-seeking models and literature of musical semiotics. The purpose of this paper is to create a music information typology, which aims at facilitating the examination of music information types at varying levels of abstraction in the context of information seeking. Design/methodology/approach – Literature of musical semiotics and information seeking are juxtaposed to develop a novel approach to music-related information. The grounding concepts are Bruner’s enactive, iconic and symbolic modes of representation. The modes of representation offer a universal scheme of knowledge that is applied to the domain of music by defining their content through Tarasti’s Theory of Musical Semiotics. Findings – This conceptual paper results in a music information typology ranging from the enactive music information representations to the abstract ones as follows. Music making as the first mode of enactive representations; music listening as the second mode of enactive representations; iconic representations of music; technological models of music as the first mode of symbolic representations; and ideological models of music as the second mode of symbolic representations. Originality/value – The present paper develops a music information typology that encompasses broadly different music information facets by categorizing music information sources according to their level of abstraction. When applied into empirical research, the typology opens a new window into the perceived roles of music information types in the context of information seeking.
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Hidayat, Didin Nuruddin, Abrizal A und Alex A. „A Multimodal Discourse Analysis of the Interpersonal Meaning of a Television Advertisement in Indonesia“. IJEE (Indonesian Journal of English Education) 5, Nr. 2 (22.04.2019): 119–26. http://dx.doi.org/10.15408/ijee.v5i2.11188.
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ABSTRACTThis article attempts to investigate and explore the interpersonal meaning of YOU C1000 on Indonesian television advertisements. This study was conducted qualitatively using case study to check how different semiotic and modes such as music, sound, speech, color, action, and image work together to build the interpersonal meaning. This study discusses the interpersonal meaning in speech and music, interpersonal meaning in movement and interpersonal meaning in image and color. The study aimed to give some contributions to social semiotics studies, television, or video advertisement. YOU C1000 advertisement is successful to attract audiences’ attention. The election of Miss Universe advertisement star, Bali as the shooting location, English as the language function and wedding ceremony as the activity are the significant factors to introduce the product to the market. In addition, its tagline is a successor factor as well. If people hear Healthy Inside and Fresh Outside, they will remember YOU C1000. ABSTRAKArtikel ini bertujuan untuk menginvestigasi and menyelidiki makna interpersonal dari produk ‘YOU C1000’ pada iklan televisi Indonesia. Penelitian ini dilakukan secara kualitatif dengan menggunakan pendekatan studi kasus untuk mengetahui bagaimana semiotik dan moda yang berbeda seperti musik, suara, ucapan, warna, tindakan, dan gambar, dapat berjalan bersama-sama dalam membentuk makna interpersonal. Penelitian ini mengulas makna interpersonal dalam ucapan dan musik, makna interpersonal dalam gerakan, dan makna interpersonal dalam gambar dan warna. Penelitian ini bertujuan untuk memberikan kontribusi pada studi semiotika sosial, televisi, atau iklan video. Iklan YOU C1000 berhasil menarik perhatian penonton. Pemilihan bintang iklan Miss Universe, Bali sebagai lokasi syuting, bahasa Inggris sebagai fungsi bahasa dan upacara pernikahan sebagai aktivitasnya adalah faktor-faktor yang signifikan untuk memperkenalkan produk tersebut ke pasar. Selain itu, ‘tagline’-nya juga merupakan faktor penting lainnya. Jika orang-orang mendengar ‘Healthy Inside and Fresh Outside’, mereka akan mengingat YOU C1000. How to Cite: Hidayat, D. N.., Abrizal., Alek. (2018). A Multimodal Discourse Analysis of the Interpersonal Meaning of a Television Advertisement in Indonesia. IJEE (Indonesian Journal of English Education), 5(2), 119-126. doi:10.15408/ijee.v5i2.11188
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Kolodii, Bogdana, Mariya Tkachivska, Mariia Grytsenko, Olena Stepanenko, Ivan Bakhov und Vasyl Tkachivskyi. „Semiotics of Media Text Translation“. Postmodern Openings 13, Nr. 4 (29.11.2022): 497–512. http://dx.doi.org/10.18662/po/13.4/529.
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The topic of the article is important, because nowadays there is a need to study the semiotics of media text translation, the use of innovations in choosing the types of media text translation. The aim of the article is the need to study and substantiate the importance of studying the essence of the concepts of “semiotics”, “media text”. The article gives a theoretical justification for the concept of media text in the field of mass communication, substantiates the semiotics of learning about signs and sign systems; semiotic characteristics of media texts translation are given. In the field of view of semiotics are various sign systems, features of translation of these signs in media texts, in particular: natural (spoken) and artificial (formal) languages, sentence systems of scientific theories, signaling systems in society and nature, states and many others. Artificial languages can also be considered as sign systems (including the “language” of scientific theory, “languages” of fine arts, cinema, theater, music), various types of visual sign systems (from road signs to painting), as well as any complex control systems considered from the standpoint of cybernetics: machines, devices and their circuits, living organisms, their subsystems (for example, central nervous system), industrial and social associations and society as a whole.
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Dunbar-Hall, Peter. „Music and Language: Commonalities in Semiotics, Syllabus, and Classroom Teaching“. British Journal of Music Education 8, Nr. 1 (März 1991): 65–72. http://dx.doi.org/10.1017/s026505170000807x.
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Music and language are often seen to be similar, and this has led to numerous music education methods based on language models. This paper describes a commonality between music and language at a semiotic level, compares their relevant syllabuses, and discusses a number of possible transfers between language teaching and music education.
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Curry, Ben. „Valency–Actuality–Meaning: A Peircean Semiotic Approach to Music“. Journal of the Royal Musical Association 142, Nr. 2 (2017): 401–43. http://dx.doi.org/10.1080/02690403.2017.1361177.
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ABSTRACTPeircean semiotics has retained a place in the study of music for more than 40 years. Few studies, however, have focused upon arguably the most important aspects of Peirce's thought: his contribution to logic and his development of a pragmatic approach to epistemology. This article develops a theory of Peircean semiotics in music that is rigorously derived from the key insights Peirce offered to philosophy. It focuses upon his theory of the proposition and posits an approach to music analysis that is sensitive to the importance of music's internal structure while recognizing the enormously significant role played by cultural contexts and social forces in the development of musical meanings. The article introduces Peircean semiotics and develops a theory of musical valency with particular reference to the Allegro of Mozart's ‘Prague’ Symphony. It concludes by theorizing the role of cultural and ideological forces in articulating and saturating a music's valency.
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LALITTE, PHILIPPE. „Towards a semiotic model of mixed music analysis“. Organised Sound 11, Nr. 2 (August 2006): 93–100. http://dx.doi.org/10.1017/s1355771806001348.
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In this paper I try to outline a model that can bring out the meaningful relationships between ‘the instrumental’ and ‘the electronics’ in mixed music. The model is based on the semiotic square which is considered in semiotics as a powerful conceptual framework to examine the relationships between two terms (S1/S2) and their negative (non-S1/non-S2), terms which can be characters, situations, actions, concepts, etc. Two paradigmatic axes represent the relations between the actors of mixed music: the sources (instrumental and electronic) on the one hand, and the manipulations (real-time processing and sound projection) on the other. According to the semiotic square, the relations inside the environment are defined in terms of contrariety, contradiction and complementarity. This model allows us to start out with a purely technological description of the ‘mixed music’ genre and of individual pieces, with the advantage of a pre-operative analysis of the system. It describes the immanent structure of the environments and releases the potential interactions between the instrumental and the electronics of mixed music. These interactions are examined, from a paradigmatic point of view, with numerous representative pieces of mixed music from the twentieth century.
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Megawati, Eka, und Nandha Dwi Yuniastarani. „Semiotika Makna Pesan Cover Album PErmission to Dance Boyband BTS“. Jurnal Mahardika Adiwidia 2, Nr. 1 (30.11.2022): 69. http://dx.doi.org/10.36441/mahardikaadiwidi.v2i1.1205.
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The purpose of this study was to understand the Semiotics of the Meaning of the Album Cover “Permission to Dance” by Boyband BTS. The theory used is Charles Sanders Peirce's Theory of Semiotics. As for Research methods used on this research is Semiotic Analysis with qualitative approach. The results of the study found that each visible sign on the album cover has a deep meaning, not only does it show the bright colors such as orange, purple, black, blue, and even the writing font, the shapes, they were an icon that symbolize meaning which could be interpret differently, depending on who, whom or whose see and read the meaning behind. BTS tried to send message through their album, not just the music, even the cover of the album is full of symbols with meanings.
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Jyh, Wee Sew. „Semiotics of Performing in Najwa Latif’s Music Videos“. Jurnal Komunikasi, Malaysian Journal of Communication 31, Nr. 2 (01.12.2015): 299–321. http://dx.doi.org/10.17576/jkmjc-2015-3102-19.
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Rozin, Vadim Markovich. „The idea of building a new humanitarian discipline ‒ "narrative semiotics"“. Культура и искусство, Nr. 4 (April 2022): 78–93. http://dx.doi.org/10.7256/2454-0625.2022.4.37955.
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The article formulates the main provisions of narrative semiotics and offers an analysis of four cases illustrating the methodology of semiotic study within the framework of a new concept. The difficulties associated with the application of the traditional semiotic approach to the analysis of iconic signs, symbols, diagrams, music, and other works of art are characterized. The author's proposed version of the extended version of semiotics and the problems that arise in this case are outlined: firstly, the new approach is subjective, and secondly, it requires the concretization of semiotic discourse. Overcoming these difficulties, the author characterizes the narrative-semiotic approach, highlighting in it three plans of analysis (framework) and special concepts. The most general frame and the encompassing whole is "conscious cultural reality"; the second, also quite general frame and the encompassing whole (meaning narrative constructions), "cultural communication"; the third frame is the structure of the content of narrative constructions, consisting of two wholes a certain reality and signs that allow you to enter this reality, to actualize its events. These plans are defined as ideal objects and concepts that require specification and empirical verification. Solving this problem, the author analyzes four cases: an interesting childhood dream, a teenage experience of K.Jung, children's experience of works of art and the knowledge of love in Plato's "Feast". At the same time, along with the use of the concepts of the reality of culture, communication, the structure of the content of narrative construction, formation, development, evolution, the concepts of "life world" and "objectivity" are introduced. Agreeing that the concept of narrative semiotics is seriously different from the traditional one, the author claims that he tried to act within the framework of a semiotic approach, and therefore the proposed concept, in his opinion, has every right to be considered semiotic.
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Keefe, S. P. „Mozart and Enlightenment Semiotics. By Stephen Rumph.“ Music and Letters 94, Nr. 1 (01.02.2013): 152–54. http://dx.doi.org/10.1093/ml/gct018.
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Magnusson, Thor. „ERGODYNAMICS AND A SEMIOTICS OF INSTRUMENTAL COMPOSITION“. Tempo 73, Nr. 287 (24.12.2018): 41–51. http://dx.doi.org/10.1017/s0040298218000633.
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AbstractThis article examines the techno-philosophical aspects of how we create and understand musical systems in twenty-first century computational media. Arguing that processor-based media have exploded the compositional language of new music, the article proposes a set of concepts that might help us navigate this new space of instrumental possibilities. The term ‘ergodynamics’ – and related concepts – is proposed as a useful concept when describing the phenomenological, historical and aesthetic aspects of musical instruments, as well as a lens for looking at new compositional practices that can be defined as being either ‘idiomatic’ or ‘supra-instrumental’. The article explores the difference in composing for acoustic, electronic and digital instruments, and suggests that new musical practice can be characterised by a move from composing work to inventing systems.
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Tarasti, Eero. „The implicit musical semiotics of Marcel Proust“. Contemporary Music Review 16, Nr. 3 (Januar 1997): 5–25. http://dx.doi.org/10.1080/07494469700640161.
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Clarke, Eric F. „The semiotics of expression in musical performance“. Contemporary Music Review 17, Nr. 2 (Januar 1998): 87–102. http://dx.doi.org/10.1080/07494469800640111.
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Björnberg, Alf. „Structural relationships of music and images in music video“. Popular Music 13, Nr. 1 (Januar 1994): 51–74. http://dx.doi.org/10.1017/s026114300000684x.
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In the course of the last decade, the body of writing on music video has grown to sizeable proportions. The reason for the present addition to this bulk of literature, in spite of the subject seemingly approaching the state of exhaustion, is that musical semiotics are still rarely applied to the field. It is a fact that pop and rock music have always been heavily infused with socially determined meaning such that an autonomous musical aesthetics appears clearly insufficient to explain their significance; however, to what extent and how this significance is linked in with particular musical structures as such is still largely uninvestigated. In my view, music video may perhaps be less interesting as a phenomenon in itself than as source material for an ‘empirical semiotics’ of popular music, shedding light on signification processes of a more general applicability. Furthermore, the distinctive features of music video may arguably be better explained on the basis of an understanding of the syntactical characteristics of popular music than by prevalent theories of postmodernism; the latter appear problematic not only due to their speculative and unsubstantiated nature with regard to media reception processes (cf. Frith and Horne 1987, p. 11), but their explanatory value as regards syntactic features of music video also seems to be limited (cf. Frith 1988, p. 207).
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CURRY, BEN. „Resituating the Icon: David Osmond-Smith's Contribution to Music Semiotics“. Twentieth-Century Music 9, Nr. 1-2 (März 2012): 177–200. http://dx.doi.org/10.1017/s1478572212000254.
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AbstractAfter pursuing doctoral studies at the University of York (1968–70), David Osmond-Smith gained two consecutive scholarships, allowing him to research first with Umberto Eco in Milan (1970–71) and then with Roland Barthes in Paris (1971–3). One of the outcomes of his encounters with these highly influential thinkers was a series of articles subjecting musical phenomena to semiotic analysis. The principal concept deployed in these articles is that of the icon or iconism, itself borrowed from the American semiotician and pragmatist philosopher Charles Sanders Peirce and exhaustively examined, re-examined, and criticized by Eco. This article explains the principles of iconic signification and their use in Osmond-Smith's work. Central to this explanation is a consideration of Eco's work on iconism (Barthes's influence is less apparent) and the somewhat perplexing point that Osmond-Smith embraced iconism despite his awareness – and, at times, apparent endorsement – of Eco's thoroughgoing critique of the concept. Lastly, the recent resurgence of interest in Peircian semiotics will be invoked in order to propose ways of developing Osmond-Smith's application of iconism to music in line with pragmatist (or, to use Peirce's term, pragmaticist) rather than structuralist thought.
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Sánchez-Kisielewska, Olga. „Book Review“. Music Theory and Analysis (MTA) 9, Nr. 1 (15.05.2022): 102–9. http://dx.doi.org/10.11116/mta.9.1.5.
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It has been a few decades since the study of musical expression and meaning coalesced into a widely accepted field of academic inquiry. In the 1980s and 1990s, the hermeneutic impulses of the "new musicology," the systematic development of a semiotics of music, and the historicist project fueled by Leonard Ratner's topoi auspiciously coincided to present a challenge to the cult of "absolute" music and the formalist bias of music analysis. In 2020, the publication of two books— The Routledge Handbook of Music Signification, edited by Esti Sheinberg and William Dougherty, and Joan Grimalt's Mapping Musical Signification — confirmed the maturity, vibrancy, and relevance of this field of study. Although neither title includes the term semiotics, both books are dedicated to the interpretation of musical signs and how they acquire, articulate, and communicate meaning—especially, though not exclusively, in music of the written European tradition. [...]
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Wahyudin, Wahyudin, und Nur Fajar Absor. „MASYARAKAT KELAS BAWAH DALAM LIRIK LAGU-LAGU IWAN FALS (1981-1994)“. Estoria: Journal of Social Science and Humanities 2, Nr. 2 (01.04.2022): 302–16. http://dx.doi.org/10.30998/je.v2i2.937.
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Abstract This article discusses Iwan Fals' musical career and his songs with the theme of social criticism, especially songs with the theme of lower class society from 1981-1994. The purpose of this article is to explain the meaning or content contained in the lyrics of Iwan Fals' songs with the theme of lower class society which will then be linked to the context of society at that time. This article uses the Historical method which is presented in a descriptive-analytical form and utilizes news sources, cassette covers, newspapers and magazines, photos and relevant books. To examine the lyrics of the song specifically using the semiotic method of Roland Barthes. Based on the facts collected, Iwan Fals is a stage name and has the real name virgiawan listanto. As a child, he often played with poor children in the village behind his house. He began to recognize music from his boarding house in Bandung. His success in winning the 1979 Country Music Festival made Musica Studio recruit Iwan Fals. Together with musica he completed 13 albums between the period 1981-1988.Iwan Fals considers his songs are the result of his observations of society. From the results of the analysis, Iwan Fals' songs have a lot to say about the life of the lower class. His partiality to the lower class of society is inseparable from his background in life which is close to the community. Keywords: Iwan Fals, Lower Class Society, Music Industry, Semiotics
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Griffith, Frank, und David Machin. „Communicating the ideas and attitudes of spying in film music: A social semiotic approach“. Sign Systems Studies 42, Nr. 1 (26.05.2014): 72–97. http://dx.doi.org/10.12697/sss.2014.42.1.04.
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Taking the example of two 1960s popular spy films this paper explores how social semiotics can make a contribution to the analysis of film music. Following other scholars who have sought to create inventories of sound meanings to help us break down the way that music communicates, this paper explores how we can draw on the principles of Hallidayan functional grammar to present an inventory of meaning potentials in sound. This provides one useful way to describe the semiotic resources available to composers to allow them to communicate quite specific ideas, attitudes and identities through combinations of different sounds and sound qualities, by presenting them as systems of meaning rather than as lists of connotations. Here we apply this to the different uses of music and sound in Dr No and The Ipcress Files which allows us to show how we can reveal different ideologies of spying.
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Meeùs, Nicolas. „Inhalt (‘content’) as a technical term in musical semiotics“. Rasprave Instituta za hrvatski jezik i jezikoslovlje 44, Nr. 2 (2018): 539–49. http://dx.doi.org/10.31724/rihjj.44.2.14.
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Inhalt (‘content’) is so common that it could hardly pass as a technical term. The purpose of this article is to show that from the 18th to the 20th century it was nevertheless used particularly to denote the specifically musical meaning arising from what music ‘contains’ of notes, rhythms, melodic cells, etc. Hegel, Marx, Hauptmann, Hanslick, Schenker, Schoenberg and probably others shared the same view that music has a content of its own, one that cannot be translated in verbal language.
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Turmudzi, Muhammad Imam. „SEGMENTASI SISTEM TANDA TEKS DRAMA SURREAL “LAKI-LAKI LAUT” KARYA IWAN EFFENDI: PERSPEKTIF TADEUSZ KOWZAN“. ALAYASASTRA 16, Nr. 1 (29.05.2020): 135. http://dx.doi.org/10.36567/aly.v16i1.356.
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ABSTRAKPenelitian ini mendeskripsikan tanda dalam teks drama surreal “Laki-Laki Laut” karya Iwan Effendi dengan cara mengklasifikasikannya menjadi beberapa segmen sistem tanda. Pendekatan yang digunakan adalah semiotika teater Tadeusz Kowzan yang berfokus pada tiga belas sistem tanda dalam teks drama. Sumber data penelitian adalah teks drama surreal “Laki-Laki Laut” karya Iwan Effendi yang penulis dapatkan langsung dari pengarang. Data diperoleh dengan teknik baca dan catat. Penelitian ini merupakan penelitian deskriptif kualitatif. Hasil penelitian menunjukkan segmentasi tiga belas sistem tanda, meliputi kata (bahasa), nada (paralingustik), mimik, gesture, gerak, tata rias (make-up), gaya rambut, tata busana (kostum), properti (prop), ruang panggung (setting), tata cahaya (lighting), musik, dan bunyi (sound effects). Kata kunci: segmentasi tanda, semiotika teater, Tadeusz Kowzan, teks dramaABSTRACTThe study described the sign in the surreal drama text of the "Laki-Laki Laut" by Iwan Effendi by classifying it into several sign system segments. The approach used is the Tadeusz Kowzan theater semiotics which focuses on thirteen sign systems in the drama text. The source of the research data is the surreal drama text of the "Laki-Laki Laut" by Iwan Effendi. Data is obtained by reading and recording techniques. This research is a qualitative descriptive study. The results of the research are thirteen segmentation sign systems, including: word (language), tone (paralingustik), expression, gesture, motion, make-up, hairstyle, fashion (costume), property (prop), setting (stage space), lighting, music, and sound effects.Keywords: sign segmentation, theater semiotics, Tadeusz Kowzan, drama text
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Lowe, Melanie. „Review: Mozart and Enlightenment Semiotics by Stephen Rumph“. Journal of the American Musicological Society 65, Nr. 3 (2012): 867–71. http://dx.doi.org/10.1525/jams.2012.65.3.867.
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Simanungkalit, Sari Mega Florensia, Nurwani Nurwani und Iskandar Muda. „DIHAR SITARLAK PADA MASYARAKAT SIMALUNGUN : KAJIAN SEMIOTIK“. Gesture : Jurnal Seni Tari 7, Nr. 1 (31.12.2018): 6. http://dx.doi.org/10.24114/senitari.v7i1.11901.
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Abstract−This study examines the semiotics contained in diharsitarlak in Simalungun society. The goal is to explore the meaning contained in the sararar and interpretation of meaning seen through the theory of semiotics. Sitarlak is a martial arts that comes from Simalungun who became the performing arts for the community that is as a welcome dance for accompanied by music and using a special outfit. The theory used relates to the research topic of Suzanna K. Langer theory which discusses the motion and the theory of semiotic de Saurrsure to express the meaning. The research time used to discuss the semiotics was held in Simalungun society was done for 2 months ie end of August until October 2017. The research place was SanggarTortor Elak-elak in Kelurahan Sirpang Dalig Raya, Raya Subdistrict, Simalungun Regency. Population in this research is artist as well as adat character, sambual (pemusik), pandihar (people who bersilat) who understand about diharsitarlak. Data collection techniques include literature study, observation, interview and documentation, and then analysis with qualitative descriptive method. Based on the research conducted, the form of diharsitarlak is a series of silat movements consisting of 7 main motifs yaitu sombah, throw boxing worship, marsimbur, mangindo (top level), mangindo (lower level), lakkasitolu-tolu and cover worship. Clothing that is used in the sitarlakdihar is long shirt and trousers (black, red, and mixture of black, white, red), yeast pane, suri-suri, and gotong salalu. The accompaniment of music on the sitarlakdihar gondrang haro-day, parahot, and gual porang. As for the semiotics contained in the scarred sitarlak poured through the sign (sign) seen from the form of motion in the series of presentation, marker (signifier) is a form of motion as the main motive in the diharsitarlak, and signified (signified) is the meaning contained in diharsitarlak. So it can be interpreted the overall meaning in the absolute sarar is the actualization of life of the people of Simalungun in various conditions, such as giving thanks to God, facing temptation, being polite and humble, respecting and appreciating others. Keywords: semiotics, signs, signifer, signified, diharsitarlak
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Agawu, Kofi. „Review: Signs of Music: A Guide to Musical Semiotics“. Music and Letters 85, Nr. 1 (01.02.2004): 144–46. http://dx.doi.org/10.1093/ml/85.1.144.
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Claydon, E. Anna. „Film Music, Musicology and Semiotics: Analysing The Draughtsman's Contract“. Journal of British Cinema and Television 8, Nr. 1 (April 2011): 62–80. http://dx.doi.org/10.3366/jbctv.2011.0006.
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Yee, Thomas B. „Narrating Near-Death Experience“. Chinese Semiotic Studies 14, Nr. 3 (28.08.2018): 329–46. http://dx.doi.org/10.1515/css-2018-0020.
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Abstract Rarely do the worlds of classical music and video games collide explicitly; when they do, as in the 2007 JRPG Eternal Sonata, the result is of marked semiotic interest. The game’s complex metafictional plotline – involving multiple levels of narrative seeking to blend fantasy and reality – invites speculation and interpretation, particularly concerning its multivalent ending. This article uses recently developed analytical methods from the burgeoning field of musical semiotics to glean poignant interpretative meaning from the video game’s musical surface. By invoking music-theoretic work in intertextuality (Klein 2004), musical narrative (Almén 2008), and virtual agency (Hatten forthcoming), I argue that the video game’s musical score is a hermeneutic key for decoding artistic meaning in Eternal Sonata. Thus, ludomusicology contributes vitally to the semiosis of a video game’s meaning as a holistic, multimedia entity.
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Atkinson, Simon. „Interpretation and musical signification in acousmatic listening“. Organised Sound 12, Nr. 2 (04.07.2007): 113–22. http://dx.doi.org/10.1017/s1355771807001756.
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AbstractThe challenges of understanding musical meaning are considered in light of ways in which electroacoustic practice and acousmatic listening might embody yet further nuances in how music can function as a signifying system. ‘Classical’ semiotics is discussed, as well as more recent developments with post-structuralist approaches and musical semantics in other areas of music scholarship. The idea, inherited from the tradition of ‘absolute music’, that musical meaning lies exclusively in the inner operations of the musical materials and their structural organisation, is questioned. Concepts from ecologically inspired music psychology are drawn upon to highlight the importance of interpretation, as well as perception, in acousmatic listening. It is argued that if new theoretical terminologies are needed, an invaluable project would be to develop a taxonomy (and thus theoretical framework) of how sound can ‘stand for something’, i.e. function as a sign in semiotic terms. It is also argued that such terminology should not reinforce distinctions between intra- and extra-musical that feature in many theoretical constructs used in relation to this music. Consideration of the Peircean semiotic model in electroacoustic music (as well as the more widely used Saussurean one), tropology in the study of literature, and a much more widely comparative and culturally explicit approach to analysis are suggested as practical starting points. A more critical approach to the integral role of sound recording and reproduction in relation to concepts of representation is needed.
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Olteanu, Alin, und Cary Campbell. „Education, Signs, and the History of Ideas“. Chinese Semiotic Studies 15, Nr. 2 (30.05.2019): 275–88. http://dx.doi.org/10.1515/css-2019-0017.
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Abstract This interview/dialogue addresses an important issue of how educational semiotics is grounded in the history of ideas. The discussions concern the shared history of semiotics and liberal education; the modern university and its medieval antecedents; semiotic consciousness, the traces of which are found in both Christianity and Islam (and the hermeneutics of Abrahamic and mystical religions, in general); intercultural translation; the relationship between learning (conceptualized edusemiotically) and biosemiotics, and how our social understandings of learning determine and shape our basic relationship to the world. Touching on the concepts of scaffolding and evolution, the chapter discusses adaptation in relation to learning, social semiotics and contemporary social reality, while imploring us to consider education in terms of its service to learning (and not the other way around).Campbell: This interview was originally published as a recorded podcast-interview in 2017, on philosophasters.org as part of the interview series Signs of Life. Thank you to Thomas Hoeller for recording and editing the sound and music, and Marion Benkaiouche for transcribing the interview. Thank you, Inna Semetsky, for summarizing the dialogue, included in part in the above abstract description. Please bear in mind that as this interview was conducted two years ago, the author´s current ideas on some of these topics may have changed.
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Pareyon, Gabriel. „Philosophical Sketches on Category Theory Applied to Music-Mathematical Polar Semiotics“. MusMat: Brazilian Journal of Music and Mathematics IV, Nr. 2 (28.12.2020): 41–51. http://dx.doi.org/10.46926/musmat.2020v4n2.41-51.
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This is an attempt to combine Matthai philosophy (of Heraclitan inspiration) and Category Theory using the Yoneda Lemma as a means for harmonizing the traditionally opposite values and conceptions dissociated between the Euclidean tradition and Heraclitus thought. The text is divided in three sections: general background and description of Yoneda, a contextualization on Heraclitan aesthetics and polar semiotics (a notion firstly intuited by I. M. Lotman and Th. Sebeok), and an experiment suggested for the revision of the grounds of music theory, with the purpose of conciliate extremely dissociated notions of music (Euclidean vs. Heraclitan) however making part of a common musical experience and knowledge. Conclusions are addressed to hypothesize that Yoneda lemma may support a robust philosophy of music within the field of Category Theory where any group is isomorphic to a subgroup of a permutation, with one-to-one paired correspondences.
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van Leeuwen, Theo. „The semiotics of movement and mobility“. Multimodality & Society 1, Nr. 1 (März 2021): 97–118. http://dx.doi.org/10.1177/2634979521992733.
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The paper presents a framework for the distinctive feature analysis of movement and mobility in texts, performances and semiotic artefacts, showing its applicability to the analysis of meaning-making in dance, music, animated and live action film and video, and product design. Emphasis is placed on the role of movement and mobility in identity design. Identity design is realized by the style in which movements are performed and can be analysed in terms of the gradable distinctive features present in any movement – direction, expansiveness, velocity, force, angularity, fluidity, directedness and regularity. The paper includes a historical dimension, focusing on the development of movement and mobility as semiotic resources, and argues for the pioneering role of modernist artists in this development.
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Theodosopoulou, Irene. „Semiotic approaches to “traditional music”, musical/poetic structures, and ethnographic research“. Semiotica 2019, Nr. 229 (26.07.2019): 123–50. http://dx.doi.org/10.1515/sem-2017-0123.
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AbstractThis text is a first attempt of approaching traditional music, musical/poetic structures and ethnographic research semiotically. The basic elements of traditional music (motives, rhythms, phonetics, performance speeds, modal systems, musical instruments, repertoire), the musical/poetic structures with morphological types and formulas (musical and poetic), musical and non-musical codes (verbal and nonverbal) during a musical performance (nods, movements, etc.) as well as the ethnographic research itself with its own “performances” (discussions with musicians, recordings, transcriptions, analyses) constitute groups of “signs” and codes that, combined together, create complex frames of meanings and re-definitions not only among musicians and revelers but also among ethnographers and their interlocutors and among ethnographic “texts” and their representations after multiple readings. This text presents elements that emerged after an enduring field research in Crete (1998–2008). The use of semiotics in the study of traditional music and musical analysis can constitute a useful analysis tool for ethnographic research from planning to composing ethnographic “texts” (texts, transcriptions, analyses). This text highlights the necessity of initiating a dialogue concerning the aspects and perspectives of a semiotic approach to musicology and music ethnography.
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Mazzola, Guerino. „Functorial semiotics for creativity“. Journal of Mathematics and Music 14, Nr. 1 (27.11.2019): 66–105. http://dx.doi.org/10.1080/17459737.2019.1675193.
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Brazgovskaya, E. E. „How Do We Hear: Cognitive Semiotics Notes on Music Perception“. Human Culture Education, Nr. 1 (2021): 40–61. http://dx.doi.org/10.34130/2233-1277-2021-1-40.
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Dunbar-Hall, Peter. „Semiotics as a Method for the Study of Popular Music“. International Review of the Aesthetics and Sociology of Music 22, Nr. 2 (Dezember 1991): 127. http://dx.doi.org/10.2307/836920.
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Hart, Iain. „Meaningful Play: Performativity, Interactivity and Semiotics in Video Game Music“. Musicology Australia 36, Nr. 2 (03.07.2014): 273–90. http://dx.doi.org/10.1080/08145857.2014.958272.
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