Chapter 18. Do Semantic Aspects of Music Have a Notation?

Chapters in this book

1. Frontmatter i
2. Contents vii
3. Preface xi
4. Prelude: Music – A Philosophico-Semiotic Approach
5. Chapter 1. Introduction to a Philosophy of Music 3
6. Part I. THE CLASSICAL STYLE
7. Chapter 2. Mozart, or, the Idea of a Continuous Avant-garde 31
8. Chapter 3. Existential and Transcendental Analysis of Music 71
9. Chapter 4. Listening to Beethoven: Universal or National, Classic or Romantic? 103
10. Part II. The Romantic Era
11. Chapter 5. The irony of romanticism 117
12. Chapter 6. “… ein leiser Ton gezogen …”: Robert Schumann’s Fantasie in C major (op. 17) in the light of existential semiotics 131
13. Chapter 7. Brahms and the “Lyric I”: A Hermeneutic Sign Analysis 171
14. Chapter 8. Brünnhilde’s Choice; or, a Journey into Wagnerian Semiosis: Intuitions and Hypotheses 187
15. Chapter 9. Do Wagner’s leitmotifs have a system? 215
16. Part III. Rhetorics and Synaesthesias
17. Chapter 10. Proust and Wagner 241
18. Chapter 11. Rhetoric and Musical Discourse 271
19. Chapter 12. The semiosis of light in music: from synaesthesias to narratives 301
20. Chapter 13. The implicit musical semiotics of Marcel Proust 335
21. Chapter 14. M. K. Čiurlionis and the interrelationships of arts 353
22. Chapter 15. Čiurlionis, Sibelius and Nietzsche: Three profiles and interpretations 369
23. Part IV. In the Slavonic World
24. Chapter 16. An essay on Russian music 393
25. Chapter 17. The stylistic development of a composer as a cognition of the musicologist: Bohuslav Martinů 413
26. Postlude I
27. Chapter 18. Do Semantic Aspects of Music Have a Notation? 437
28. Postlude II
29. Chapter 19. Music – Superior Communication 445
30. Glossary of Terms 453
31. Bibliography 462
32. Index of persons and musical works 481