Jazz Semiosis: Possibilities of Applying Peirce in Music Theory

Result code in IS VaVaI
<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216208%3A11240%2F18%3A10392017" target="_blank" >RIV/00216208:11240/18:10392017 - isvavai.cz</a>
Result on the web
<a href="https://doi.org/10.3726/b15062" target="_blank" >https://doi.org/10.3726/b15062</a>
DOI - Digital Object Identifier
<a href="http://dx.doi.org/10.3726/b15062" target="_blank" >10.3726/b15062</a>

Result language
angličtina
Original language name
Jazz Semiosis: Possibilities of Applying Peirce in Music Theory
Original language description
The main question of this text is: If Peirce's semeiotic is a "truly general doctrine", how can it be used to describe music as a system of signs or how can be this doctrine applied in the specific case of jazz music? I would like to investigate two main sub-questions in this text, which are essentially related to the main one. The first is: What is the link between "music" and functions of "mind", from the point of view of Peirce's semeiotic and phenomenology? The problem is whether there is any link like this in Peircean philosophy and how does it work. The second sub-question is: Can an analysis of selected chapters of jazz music and its specific way of improvisation tell us anything about signs, semiosis and Peircean semiotics in general?
Czech name
—
Czech description
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Project
—
Continuities
I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Publication year
2018
Confidentiality
S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Book/collection name
Current Perspectives in Semiotics: Text, Genres, and Representations.
ISBN
978-3-631-74431-4
Number of pages of the result
15
Pages from-to
199-213
Number of pages of the book
302
Publisher name
Peter Lang
Place of publication
Oxford
UT code for WoS chapter
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