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Statements

Subject Item
n2:RIV%2F00216224%3A14210%2F11%3A00055025%21RIV12-MSM-14210___
rdf:type
skos:Concept n12:Vysledek
dcterms:description
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 of music 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. 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 of music 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.
dcterms:title
Semiology in Music and Art: Czech Music Semiology Semiology in Music and Art: Czech Music Semiology
skos:prefLabel
Semiology in Music and Art: Czech Music Semiology Semiology in Music and Art: Czech Music Semiology
skos:notation
RIV/00216224:14210/11:00055025!RIV12-MSM-14210___
n12:predkladatel
n13:orjk%3A14210
n4:aktivita
n5:S
n4:aktivity
S
n4:dodaniDat
n19:2012
n4:domaciTvurceVysledku
n16:5429447
n4:druhVysledku
n20:C
n4:duvernostUdaju
n11:S
n4:entitaPredkladatele
n15:predkladatel
n4:idSjednocenehoVysledku
228809
n4:idVysledku
RIV/00216224:14210/11:00055025
n4:jazykVysledku
n17:eng
n4:klicovaSlova
Semiology; Music; Music Semiology; Music Analysis
n4:klicoveSlovo
n6:Music%20Analysis n6:Semiology n6:Music n6:Music%20Semiology
n4:kontrolniKodProRIV
[4F4669DA8796]
n4:mistoVydani
Frankfurt am Main
n4:nazevEdiceCisloSvazku
Methodoly of Music Research
n4:nazevZdroje
Approaches to Music Research: Between Practice and Epistemology
n4:obor
n10:AL
n4:pocetDomacichTvurcuVysledku
1
n4:pocetStranKnihy
249
n4:pocetTvurcuVysledku
1
n4:rokUplatneniVysledku
n19:2011
n4:tvurceVysledku
Spurný, Lubomír
s:numberOfPages
5
n14:hasPublisher
Peter Lang, Internationaler Verlag der Wissenschaften
n7:isbn
978-3-631-59200-7
n8:organizacniJednotka
14210