Search results

1

Izotopia semantyczna i jej zastosowanie w badaniach nad orientalizmem muzycznym — możliwości i ograniczenia

100%

Skupin R.

Aspekty Muzyki

|

2011

|

vol. 1

181-202

EN

The aim of this study is to determine the possibilities and constraints of applying semantic isotopy, a concept developed in the area of semiotics with reference to language system and structure, in analysis of Orientalism as a way of presenting a reality that is referred to as the Orient in a musical work. The starting point is a review of acts of functioning of isotopy in semiotic text concept: from the original understanding of A. J. Greimas (semantic coherence of narrative text in the context of his theory of structural semantics), through the approach of François Rastier (strategic concept of interpretation within his theory of interpretative semantics) and Bernard Pottier (stability of semic feature, or isosemy of lexical-grammatical structures), to Umberto Eco’s concept (interpretive coherence associated with the concept of topic within the principle of textual cooperation). Determinants of adaptation of isotopy in musical semiotics are considered using the example of spectacularly extended fi eld of application of this concept in Eero Tarasti’s semiotic theory (or theory of musicological cognition of music) and his concept of discourse (musical one, and about music). The range of usefulness of isotopy is presented on the basis of methodological propositions of JeanPierre Bartoli and results of his research into Orientalism of the 19th- and early 20th-century French music. A description of consequences of examining Orientalism (oriental exoticism) as a semiotic system, assuming “language-likeness” of music, concerns conditions of “isotopic functioning” of musical exoticism. The conclusions underline a necessity for distinguishing between Orientalism and orientality due to the nature of semiosis in the case of music, and a need to verify the authenticity of “allochtonic units” (Bartoli’s “oriental semes” or “exosememes”) in a prospect of research in Orientalism as a phenomenon in the Western culture. These issues have also been emphasized in recent research on the musical consequences of cultural diffusion processes (manifestations of “occidentalising exoticism” in contemporary musical practice in the Middle East), in which the isotopy/isosemy is used as an objectifi ed transcultural analytical tool.

2

A Peircean approach to musicality

100%

Ojala J.

Interdisciplinary Studies in Musicology

|

2015

|

issue 14

175-191

PL

Musicality is central to musical processes and music research. Yet, there is no consensus of what is understood by the term. It can be assumed that in large populations musicality is distributed according to a bell curve - just as any trait of personality. It is also clear that musical skills can be improved, regardless of a possible stigma of unmusicality. Depending on the conception of musicality, musicality research confronts issues and trade-offs relating to ecological validity of the concept (how musicality connects to actual music), methodology (which methods of study yield valid and reliable results), epistemology (how the gain knowledge of musicality), and ontology of music (what processes pertain to music, what not, and what is possible shared). These issues are reflected in the primarily psychological theories and tests of musicality. This article makes an attempt at a Peircean analysis of musicality. It has been suggested that the traditional psychometric approach to musicality is followed by a semiotic approach, and assuming musicality has to do with how subjects make sense in musical processes, the semiotic analysis of musicality is critical. This analysis applies Peirce’s notion of thought-sign and his tenfold classification of the sign (suggesting a three-dimensional exemplification of Peirce’s trichotomous, three dimensional model). The ten classes are differentiated by six transitions, that seem to have their correlates in the psychological understanding of cognition: manifestation, definition, filtering, binding, associating and understanding of the sign. The six transitions appear useful in analyzing the concept of musicality. Correspondingly, the conditions for musical signification extend from ability of auditory sensation to those of dynamical memory, auditory filtering, auditory structuring, association sound objects and ability to understand and manage communicational situations in music. In order to understand musicality, all these aspects should be studied with good ecological and methodological validity in mind.

3

Narrative strategies of the Romantic “philosophical epics” in the piano works of Franz Liszt (Analysis o/Sposalizio, Valee D’Obermann, Ballade No. 2 and the Sonata in B minor)

84%

Grabocz M.

Interdisciplinary Studies in Musicology

|

2015

|

issue 14

113-135

PL

The article explains how ideas, characters and images borrowed from literary works and of fine arts are represented in Liszt’s the piano works of (i.e. with the help of motives, themes and narrative strategies). I. The first level of analysis concerns the typology of basic elements in the new lisztian forms: A. Four types of musical motives or figures and their signifieds (semes). B. Sixteen types of musical themes with their signifieds (classemes). C. Considering the great parts or sections of a piece we discovered seven types with their signifieds (isotopies). II. The second level of analysis consists in the presentation of three types of narrative strategies. The narrative strategy would mean the conscious organization of concatenation of the above mentioned signifying elements. A. The “figurative strategy” refers to the formal variation [‘Formalvariation” in German] of onetheme, or of one “thematic complex” (theme introduced and followed by expressive describing motives or refrain), for example: Sposalizio. B. The “simple narrative strategy” consists in a succession of character variations [‘Charaktervariation’], i.e. variation in the musical genre, in the signified of one musical theme (for example: Vallee d’Obermanri). C. The “complex narrative strategy” describes the structures which combine sonata form, cyclical sonata in four movements and variation form. This strategy implies that a whole thematic complex (exposition) is submitted to different stages of the character variation (for example: Dante sonata, Sonata in B minor, 2nd Ballade in B minor, etc.).

Refine search results

2 Interdisciplinary Studies in Musicology

1 Aspekty Muzyki

2 2015

1 2011

1 Grabocz M.

1 Ojala J.

1 Skupin R.

Izotopia semantyczna i jej zastosowanie w badaniach nad orientalizmem muzycznym — możliwości i ograniczenia

A Peircean approach to musicality

Narrative strategies of the Romantic “philosophical epics” in the piano works of Franz Liszt (Analysis o/Sposalizio, Valee D’Obermann, Ballade No. 2 and the Sonata in B minor)