LEADER 05236nam 2200721Ia 450 001 9910779332903321 005 20230802005704.0 010 $a1-283-85709-X 010 $a1-61451-141-1 024 7 $a10.1515/9781614511410 035 $a(CKB)2550000000709238 035 $a(EBL)893997 035 $a(OCoLC)822018783 035 $a(SSID)ssj0000787213 035 $a(PQKBManifestationID)12342778 035 $a(PQKBTitleCode)TC0000787213 035 $a(PQKBWorkID)10821795 035 $a(PQKB)11465515 035 $a(MiAaPQ)EBC893997 035 $a(DE-B1597)176203 035 $a(OCoLC)840440220 035 $a(OCoLC)843634976 035 $a(DE-B1597)9781614511410 035 $a(Au-PeEL)EBL893997 035 $a(CaPaEBR)ebr10634597 035 $a(CaONFJC)MIL416959 035 $a(EXLCZ)992550000000709238 100 $a20120709d2012 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aSemiotics of classical music$b[electronic resource] $ehow Mozart, Brahms and Wagner talk to us /$fEero Tarasti 210 $aBerlin ;$aBoston $cDe Gruyter Mouton$dc2012 215 $a1 online resource (508 p.) 225 1 $aSemiotics, communication and cognition,$x1867-0873 ;$vv. 10 300 $aDescription based upon print version of record. 311 $a1-61451-154-3 320 $aIncludes bibliographical references and index. 327 $t Frontmatter -- $tContents -- $tPreface -- $tPrelude: Music - A Philosophico-Semiotic Approach -- $tChapter 1. Introduction to a Philosophy of Music -- $tPart I. THE CLASSICAL STYLE -- $tChapter 2. Mozart, or, the Idea of a Continuous Avant-garde -- $tChapter 3. Existential and Transcendental Analysis of Music -- $tChapter 4. Listening to Beethoven: Universal or National, Classic or Romantic? -- $tPart II. The Romantic Era -- $tChapter 5. The irony of romanticism -- $tChapter 6. "... ein leiser Ton gezogen ...": Robert Schumann's Fantasie in C major (op. 17) in the light of existential semiotics -- $tChapter 7. Brahms and the "Lyric I": A Hermeneutic Sign Analysis -- $tChapter 8. Brünnhilde's Choice; or, a Journey into Wagnerian Semiosis: Intuitions and Hypotheses -- $tChapter 9. Do Wagner's leitmotifs have a system? -- $tPart III. Rhetorics and Synaesthesias -- $tChapter 10. Proust and Wagner -- $tChapter 11. Rhetoric and Musical Discourse -- $tChapter 12. The semiosis of light in music: from synaesthesias to narratives -- $tChapter 13. The implicit musical semiotics of Marcel Proust -- $tChapter 14. M. K. ?iurlionis and the interrelationships of arts -- $tChapter 15. ?iurlionis, Sibelius and Nietzsche: Three profiles and interpretations -- $tPart IV. In the Slavonic World -- $tChapter 16. An essay on Russian music -- $tChapter 17. The stylistic development of a composer as a cognition of the musicologist: Bohuslav Martin? -- $tPostlude I -- $tChapter 18. Do Semantic Aspects of Music Have a Notation? -- $tPostlude II -- $tChapter 19. Music - Superior Communication -- $tGlossary of Terms -- $tBibliography -- $tIndex of persons and musical works 330 $aMusical semiotics is a new discipline and paradigm of both semiotics and musicology. In its tradition, the current volume constitutes a radically new solution to the theoretical problem of how musical meanings emerge and how they are transmitted by musical signs even in most "absolute" and abstract musical works of Western classical heritage. Works from symphonies, lied, chamber music to opera are approached and studied here with methods of semiotic inspiration. Its analyses stem from systematic methods in the author's previous work, yet totally new analytic concepts are also launched in order to elucidate profound musical significations verbally. The book reflects the new phase in the author's semiotic approach, the one characterized by the so-called "existential semiotics" elaborated on the basis of philosophers from Kant , Hegel and Kierkegaard to Jaspers, Heidegger, Sartre and Marcel. The key notions like musical subject, Schein, becoming, temporality, modalities, Dasein, transcendence put musical facts in a completely new light and perspectives of interpretation. The volume attempts to make explicit what is implicit in every musical interpretation, intuition and understanding: to explain how compositions and composers "talk" to us. Its analyses are accessible due to the book's universal approach. Music is experienced as a language, communicating from one subject to another. 410 0$aSemiotics, communication and cognition ;$v10. 606 $aMusic$xSemiotics 606 $aMusic$xPhilosophy and aesthetics 610 $aClassical Music. 610 $aCommunication Studies. 610 $aMusicology. 610 $aPhilosophy. 610 $aSemiotics. 615 0$aMusic$xSemiotics. 615 0$aMusic$xPhilosophy and aesthetics. 676 $a302.222 676 $a780.14 686 $aLR 55520$2rvk 700 $aTarasti$b Eero$01109137 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910779332903321 996 $aSemiotics of classical music$93824736 997 $aUNINA