Semiology in Music and Art: Czech Music Semiology

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216224%3A14210%2F11%3A00055025" target="_blank" >RIV/00216224:14210/11:00055025 - isvavai.cz</a>

Výsledek na webu

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DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Semiology in Music and Art: Czech Music Semiology

Popis výsledku v původním jazyce

With help of music semiology, it?s possible to interpret the syntax of music and the process of structuring a musical work; semiology thus becomes part of music theory. Semiology (at least as a music-oriented pragmatic system) can be an inspiration to music sociology, historiography, ethnomusicology. Not even the emancipatory tendencies of the last few decades have deprived semiology of its links to aesthetics. It is still true that questions of signs and meanings in music is one of the key problems ofmusic aesthetics. Its study offers three possible approaches with, of course, a range of varieties and cross-currents. The most radical approach denies that music carries any sign, or even a communicative status. A second approach, let?s call it ?non-semiotic formalism?, connects the meaning of a work with the way it is structured and modelled at all levels. The third approach acknowledges that music is a sign structure of its own kind and that musical signs have specific meanings.

Název v anglickém jazyce

Semiology in Music and Art: Czech Music Semiology

Popis výsledku anglicky

With help of music semiology, it?s possible to interpret the syntax of music and the process of structuring a musical work; semiology thus becomes part of music theory. Semiology (at least as a music-oriented pragmatic system) can be an inspiration to music sociology, historiography, ethnomusicology. Not even the emancipatory tendencies of the last few decades have deprived semiology of its links to aesthetics. It is still true that questions of signs and meanings in music is one of the key problems ofmusic aesthetics. Its study offers three possible approaches with, of course, a range of varieties and cross-currents. The most radical approach denies that music carries any sign, or even a communicative status. A second approach, let?s call it ?non-semiotic formalism?, connects the meaning of a work with the way it is structured and modelled at all levels. The third approach acknowledges that music is a sign structure of its own kind and that musical signs have specific meanings.

Druh

C - Kapitola v odborné knize

CEP obor

AL - Umění, architektura, kulturní dědictví

OECD FORD obor

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Projekt

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Návaznosti

S - Specificky vyzkum na vysokych skolach

Rok uplatnění

2011

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název knihy nebo sborníku

Approaches to Music Research: Between Practice and Epistemology

ISBN

978-3-631-59200-7

Počet stran výsledku

5

Strana od-do

79-83

Počet stran knihy

249

Název nakladatele

Peter Lang, Internationaler Verlag der Wissenschaften

Místo vydání

Frankfurt am Main

Kód UT WoS kapitoly

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