Full Description
Transdisciplinary and intermedial analysis of the experience of music. Nowadays musical semiotics no longer ignores the fundamental challenges raised by cognitive sciences, ethology, or linguistics. Creation, action and experience play an increasing role in how we understand music, a sounding structure impinging upon our body, our mind, and the world we live in. Not discarding music as a closed system, an integral experience of music demands a transdisciplinary dialogue with other domains as well. Music, Analysis, Experience brings together contributions by semioticians, performers, and scholars from cognitive sciences, philosophy, and cultural studies, and deals with these fundamental questionings. Transdisciplinary and intermedial approaches to music meet musicologically oriented contributions to classical music, pop music, South American song, opera, narratology, and philosophy.
This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).
Contributors: Paulo Chagas (University of California, Riverside), Isaac and Zelia Chueke (Universidade Federal do Paraná, OMF/Paris-Sorbonne), Maurizio Corbella (Università degli Studi di Milano), Ian Cross (University of Cambridge), Paulo F. de Castro (CESEM/Departamento de Ciências Musicais; FCSH Universidade Nova de Lisboa), Robert S. Hatten (University of Texas at Austin), David Huron (School of Music, Ohio State University), Jamie Liddle (The Open University), Gabriele Marino (University of Turin), Dario Martinelli (Kaunas University of Technology; International Semiotics Institute), Nicolas Marty (Université Paris-Sorbonne), Maarten Nellestijn (Utrecht University), Malgorzata Pawlowska (Academy of Music in Krakow), Mônica Pedrosa de Pádua (Federal University of Minas Gerais, UFMG), Piotr Podlipniak (Adam Mickiewicz University, Poznan), Rebecca Thumpston (Keele University), Mieczyslaw Tomaszewski (Academy of Music in Krakow), Lea Maria Lucas Wierød (Aarhus University), Lawrence M. Zbikowski (University of Chicago)
Contents
Preface Costantino Maeder and Mark Reybrouck
Part One. Setting the Stage: Music-In-Action, Semiotics, and Intermediality
Music, Speech and Meaning in Interaction Ian Cross
Capturing the Music: The Thin Line Between Mediation and Interference Zelia Chueke and Isaac Chueke
Performativity Through(out) Media: Analyzing Popular Music Performance in the Age of Intermediality Maurizio Corbella
Part Two. Representation, Interpretation, and Meaning
Reading a Work of Music from the Perspective of Integral Interpretation Mieczyslaw Tomaszewski
La musique au second degré : on Gérard Genette's Theory of Transtextuality and its Musical Relevance Paulo F. de Castro
Semiotic Narrativization Processes Nicolas Marty
Musical Understanding: Wittgenstein, Ethics, and Aesthetics Paulo C. Chagas
Where to Draw the Line? Representation in Intermedial Song Analysis Lea Maria Lucas WierødPart Three. Experience, Cognition, and Affect
The Ability of Tonality Recognition as One of Human-Specific Adaptations Piotr Podlipniak
Musical Semiotics and Analogical Reference Lawrence M. Zbikowski
The Other Semiotic Legacy of Charles Sanders Peirce: Ethology and Music-Related Emotion David Huron
Part Four. Intermediality and Transdisciplinarity
The Death of Klinghoffer: From Stage to Screen Maarten Nellestijn
The Perception of Art Songs Through Image: A Semiotic Approach Monica Pedrosa de Pádua
"What Kind of Genre Do You Think We Are?" Genre Theories, Genre Names and Classes within Music Intermedial Ecology Gabriele Marino
Part Five. Analysis and Beyond
A Story or Not a Story? Pascal Dusapin's Opera Roméo & Juliette and New Ways of Musical Narratives Malgorzata Pawlowska
Authorship, Narrativity and Ideology: The Case of Lennon-McCartney Dario Martinelli
The Sublime as a Topic in Beethoven's Late Piano Sonatas Jamie Liddle
Melodic Forces and Agential Energies: An Integrative Approach to the Analysis and Expressive Interpretation of Tonal Melodies Robert S. Hatten
The Embodiment of Yearning: Towards a Tripartite Theory of Musical Agency Rebecca Thumpston
Editors
Contributors
