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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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 bear meaning. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
motivic code, signifying scope, paradigmatic criteria, modal opposition, referential scope, generic typology, plot archetype, motivic shape, musical narration, musical semiotics, introductory chord, second subject group, motivic working, motivic analysis, musical signification, harmonic stasis, structures immanent, motivic connections, trio sections, tonal process, musical narrative, neutral level, symphonic writing, double bar line, formal sections Key Phrases - Capitalized Phrases (CAPs): (learn more)
Sixth Symphony, Fifth Symphony, Webster Goodwin, Fourth Symphony, Second 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 | Table of Contents | First Pages | Index | 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 bear meaning. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
motivic code, signifying scope, paradigmatic criteria, modal opposition, referential scope, generic typology, plot archetype, motivic shape, musical narration, musical semiotics, introductory chord, second subject group, motivic working, motivic analysis, musical signification, harmonic stasis, structures immanent, motivic connections, trio sections, tonal process, musical narrative, neutral level, symphonic writing, double bar line, formal sections Key Phrases - Capitalized Phrases (CAPs): (learn more)
Sixth Symphony, Fifth Symphony, Webster Goodwin, Fourth Symphony, Second 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 | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 54
books:
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- A Theory of Semiotics (Advances in Semiotics) by Umberto Eco on page 6, page 7, and Back Matter
- The Dance of Death (Dover Fine Art, History of Art) by Hans Holbein on page 121, page 124, and page 131
- Music and Discourse by Jean-Jacques Nattiez on page 10, and Back Matter
- 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)
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