The terms of structuralist and post-structuralist theory have been widely debated within the field of music analysis in recent years. However, very few analyses have attempted to address the repertoire of large orchestral works of the turn of the century - works which seem most obviously to escape the categories of conventional analysis. This study uses a semiotic theory of signification in order to investigate different types of musical communication. Musical meaning is defined on several levels from structures immanent to the work, through questions of tradition and genre, to consideration of the symphony as a narrative alongside other contemporary non-musical texts. Ideas from Eco, Barthes, and Derrida are deployed within the context of close analysis of the score in order to unite specifically analytical insights with cultural hermeneutics.
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..".Samuels offers a clear definition of musical narrative....Samuels shows the development of musical ideas in a new light and takes the study of the Sixth Symphony beyond the limitations....it reveals a new context for understanding the first movement and the structure created by the succeeding ones." James L. Zychowicz
Book Description
This study uses a semiotic theory of signification in order to investigate different types of musical communication. Musical meaning is defined on several levels from structure, through questions of tradition and genre, to consideration of the symphony as a narrative alongside other contemporary non-musical texts.
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Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
Inside This Book
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First Sentence:
Analysis of music, at least in the century or so of its modern history as an intellectual discipline, has tended to assume that musical works can and do beat meaning. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
motivic code, signifying scope, paradigmatic criteria, modal opposition, motivic shape, referential scope, plot archetype, musical narration, musical semiotics, motivic analysis, musical signification, neutral level, motivic connections, paradigmatic analysis, double bar line, musical narrative, formal sections, semiotic method, music analysis, motivic material, narrative code, sign production, sonata form, musical text, opening melody Key Phrases - Capitalized Phrases (CAPs): (learn more)
Sixth Symphony, Fifth Symphony, Webster Goodwin, Second Symphony, Fourth Symphony, Anna Karenina, Emma Bovary, First Symphony, Third Symphony, John Williamson, Roland Barthes, French Valse, Mahler's Ninth Symphony, Michael Riffaterre, Paul Bekker New!
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Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
Analysis of music, at least in the century or so of its modern history as an intellectual discipline, has tended to assume that musical works can and do beat meaning. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
motivic code, signifying scope, paradigmatic criteria, modal opposition, motivic shape, referential scope, plot archetype, musical narration, musical semiotics, motivic analysis, musical signification, neutral level, motivic connections, paradigmatic analysis, double bar line, musical narrative, formal sections, semiotic method, music analysis, motivic material, narrative code, sign production, sonata form, musical text, opening melody Key Phrases - Capitalized Phrases (CAPs): (learn more)
Sixth Symphony, Fifth Symphony, Webster Goodwin, Second Symphony, Fourth Symphony, Anna Karenina, Emma Bovary, First Symphony, Third Symphony, John Williamson, Roland Barthes, French Valse, Mahler's Ninth Symphony, Michael Riffaterre, Paul Bekker New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
Citations (learn more)
This book cites 53
books:
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12
books
cite this book:
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- The Dance of Death (Dover Fine Art, History of Art) by Hans Holbein on page 121, page 124, and page 131
- Fundamentals of Musical Composition by Arnold Schoenberg on page 19, and Back Matter
- Music and Text: Critical Inquiries by Steven Paul Scher in Back Matter (1), and Back Matter (2)
- Music and Discourse by Jean-Jacques Nattiez on page 10, and Back Matter
- Camera Lucida: Reflections on Photography by Roland Barthes on page 159, and Back Matter
See all 53 books this book cites
- Musical Composition in the Twentieth Century by Arnold Whittall on page 28, and Back Matter
- The Cambridge History of Nineteenth-Century Music (The Cambridge History of Music) by Jim Samson on page 609, and page 610
- Reading Renaissance Music Theory: Hearing with the Eyes (Cambridge Studies in Music Theory and Analysis) by Cristle Collins Judd in Front Matter
- Janácek Studies (Cambridge Composer Studies) by Paul Wingfield on page 263
- Stravinsky's Late Music (Cambridge Studies in Music Theory and Analysis) by Joseph N. Straus in Front Matter
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