Musical signification: essays in the semiotic theory and analysis of music

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New York: Mouton de Gruyter (1995)
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Abstract

Method and system Francois- Bernard Mdche I want to raise the issue of the possible significance of the use of digital machines for a composer whose work is ...

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ML3845.M976 1995

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3110140403
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Chapters

Music and semantics.Raymond Monelle
Toward a Reinterpretarion of Compositional Theory.  (pages 11--25)David Lidov
Art evolution in the light of brain asymmetry: A trial of empirical investigation.  (pages 121--267)Vladimir M. Petrov
Character and characterization in musical performance: Effects of sensory experience upon meaning.  (pages 121--285)Alexandra Pierce
Experiments on grammar-based analysis of music.  (pages 121--361)T. Kalev
How philosophical characterizations of a musical work lose sight of the “music” and how it might be put back.  (pages 121--63)Cynthia M. Grund
Intonation as a specific form of musical semiosis.  (pages 121--155)Jaroslav Jiranek
Metaphor in music.  (pages 121--373)Robert S. Hatten
Method and system.  (pages 121--3)Franeois-Bernard Mciche
Music and antimetaphor (to Eero Tarasti).  (pages 121--27)Daniel Charles
Musical intonation-language of intuition and logic: A contribution to the system of the semiotics of intonation in music.  (pages 121--189)Viatscheslav Medushevsky
Musical pragmatics and computer modelling Alan A. Marsden.  (pages 121--335)Alan A. Marsden
On the genesis of the musical sign.  (pages 121--229)Vladimir Karbusicky
On the sound dimension of prehistoric painted caves and rocks.  (pages 121--541)Iégor Reznikoff
Peirce's “ground” and 19th-century Lieder.  (pages 121--413)David L. Mosley
Pertinence in music.  (pages 121--209)Luca Marconi
Some relationships between terminology, analytic strategies, and computational methodologies.  (pages 121--349)Marco Ligabue
Tempo deviations and musical signification: A case study.  (pages 121--301)Kari Kurkela
The application of Hje1ms1ev's glossematics to music.  (pages 121--109)Gayle A. Henrotte
The couples who remain: With reference to “Ici-bas” by Sully Prudhomme and Fauré1.  (pages 121--423)Vera Vouga
The pitch of glide-like F0 curves in Votic folksongs.  (pages 121--319)Jaan Ross
The problem of narrativity in the symphonic poem En saga by Jean Sibelius.  (pages 121--471)Veijo Murtomciki
The sign and music: A reflection on the theoretical bases of musical semiotics.  (pages 121--43)Rosario Mirigliano
“Après un rêve”: A semiotic analysis of the song by Gabriel Fauré.  (pages 121--435)Eero Tarasti
“The voice of the heart”: A progressive semiosis on the interval of the sixth.  (pages 121--199)Gino Stefani
A semio-psychological theory of communication in music.  (pages 279--284)Jirí Kulka
The concept of hierarchy: A theoretical approach.  (pages 325)Mario Baroni—Rossana Dalm0nte—Carlo Jacoboni
The concept of hierarchy: a theoretical approach.  (pages 325--334)M. Baroni, R. Dalmonte & C. Jacoboni
Semiotic bases and computer assisted composition: Towards a cognitive model.  (pages 355)Francesco Giomi—Marco Ligabue
Performative musical acts: The verdian achievement.  (pages 393--412)Marco Beghelli
Orchestration and Form in Leos [sic] Janáček's Concertino: An Analysis of Intratextual Interaction.  (pages 495--509)Tomi Mäkelä
“Music Becomes Language”: Narrative Strategies in El cimarrón by Hans-Werner Henze.  (pages 511--534)Ivanka Stoianova

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