Add to ORKGLinguistically inspired approaches to the semiotics of music have generally described music as an abstract system of tonal and temporal relations, 'Music, by itself, signifies nothing', Nattiez (1971: 8), echoing Stravinsky's [1936] categorical denial of musical meaning. Such views aptly describe a particular early 20th century formalist approach to music
SIGLEAvailable from British Library Document Supply Centre-DSC:DXN026379 / BLDSC - British Library D...
The reflections on music are crucial in the philosophy of language and the mind of the second Wittge...
Anglo-American musicology is at the moment quite obviously em-bracing a semiotic approach. The fact ...
This dissertation investigates the relation of language to music. In particular, it probes the manne...
It is often taken for granted that music, whatever else it is able to do, cannot articulate ideas. T...
For the philosophers, aesthetics and musicologists of the nineteenth and twentieth centuries the top...
Nowadays musical semiotics no longer ignores the fundamental challenges raised by cognitive sciences...
The idea of musical signification has been implicit for a long time in writings on music, but only d...
The experience of tonal relations elicits different emotions of stability in listeners. Thus, tonali...
For many scholars of language, discourse and society, multimodal analysis has come effectively to me...
This chapter describes the structural similarities between music and language, in pursuit of a stron...
This chapter sketches recent evolutions of semiotics as applied to music. Rather than providing mere...
Musical semiotics begins from the premise that music is a signifying phenomenon. However, the field ...
This article examines both metadiscursive and discursive theoretical and analytical engagements with...
Music semiotics is a branch of music theory that has been particularly developing since the 1960s. A...
SIGLEAvailable from British Library Document Supply Centre-DSC:DXN026379 / BLDSC - British Library D...
The reflections on music are crucial in the philosophy of language and the mind of the second Wittge...
Anglo-American musicology is at the moment quite obviously em-bracing a semiotic approach. The fact ...
This dissertation investigates the relation of language to music. In particular, it probes the manne...
It is often taken for granted that music, whatever else it is able to do, cannot articulate ideas. T...
For the philosophers, aesthetics and musicologists of the nineteenth and twentieth centuries the top...
Nowadays musical semiotics no longer ignores the fundamental challenges raised by cognitive sciences...
The idea of musical signification has been implicit for a long time in writings on music, but only d...
The experience of tonal relations elicits different emotions of stability in listeners. Thus, tonali...
For many scholars of language, discourse and society, multimodal analysis has come effectively to me...
This chapter describes the structural similarities between music and language, in pursuit of a stron...
This chapter sketches recent evolutions of semiotics as applied to music. Rather than providing mere...
Musical semiotics begins from the premise that music is a signifying phenomenon. However, the field ...
This article examines both metadiscursive and discursive theoretical and analytical engagements with...
Music semiotics is a branch of music theory that has been particularly developing since the 1960s. A...
SIGLEAvailable from British Library Document Supply Centre-DSC:DXN026379 / BLDSC - British Library D...
The reflections on music are crucial in the philosophy of language and the mind of the second Wittge...
Anglo-American musicology is at the moment quite obviously em-bracing a semiotic approach. The fact ...