How philosophical characterizations of a musical work lose sight of the “music” and how it might be put back

Chapters in this book

1. Frontmatter I
2. Preface V
3. Contents XI
4. Theoretical approaches
5. Method and system 3
6. Toward a reinterpretation of compositional theory 11
7. Music and antimetaphor 27
8. The sign and music: A reflection on the theoretical bases of musical semiotics 43
9. How philosophical characterizations of a musical work lose sight of the “music” and how it might be put back 63
10. Interpretation and meaning in music 81
11. Music and semantics 91
12. The application of Hjelmslev’s glossematics to music 109
13. The musical work as sign: Significative constituents, layers, structure 123
14. Asaf’ev and Tynianov: On some analogies between musicology and the study of literature 141
15. Intonation as a specific form of musical semiosis 155
16. Musical intonation – language of intuition and logic: A contribution to the system of the semiotics of intonation in music 189
17. Empirical studies
18. “The voice of the heart”: A progressive semiosis on the interval of the sixth 199
19. Pertinence in music 209
20. Meaning and behavior patterns: The creation of meaning in interpreting and listening to music 219
21. On the genesis of the musical sign 229
22. Art evolution in the light of brain asymmetry: A trial of empirical investigation 267
23. A semio-psychological theory of communication in music 279
24. Character and characterization in musical performance: Effects of sensory experience upon meaning 285
25. Tempo deviations and musical signification: A case study 301
26. The pitch of glide-like F0 curves in Votic folksongs 319
27. The concept of hierarchy: A theoretical approach 325
28. Musical pragmatics and computer modelling 335
29. Some relationships between terminology, analytic strategies, and computational methodologies 349
30. Semiotic bases and computer assisted composition: Towards a cognitive model 355
31. Experiments on grammar-based analysis of music 361
32. Analyses of musical styles and texts
33. Metaphor in music 373
34. Performative musical acts: The Verdian achievement 393
35. Peirce’s “ground” and 19th-century Lieder 413
36. The couples who remain: With reference to “Ici-bas” by Sully Prudhomme and Fauré 423
37. “Apres un rêve”: A semiotic analysis of the song by Gabriel Fauré 435
38. The problem of narrativity in the symphonic poem En saga by Jean Sibelius 471
39. Orchestration and form in Leos Janáček’s Concertino: An analysis of intratextural interaction 495
40. “Music becomes language”: Narrative strategies in El cimarrón by Hans-Werner Henze 511
41. Narrativity and electroacoustic music 535
42. On the sound dimension of prehistoric painted caves and rocks 541
43. The mythical in non-programmatic music 559
44. The symbol of the tree in musical Jugendstil 565
45. Aspects of the “Dance of Death” as a semiotic system 575
46. Authors 585
47. Index 593