LEADER 01350nam--2200409---450- 001 990001477060203316 005 20060712111851.0 035 $a000147706 035 $aUSA01000147706 035 $a(ALEPH)000147706USA01 035 $a000147706 100 $a20040304d1968----km-y0itay0103----ba 101 $aita 102 $aIT 105 $a||||||||001yy 200 1 $a<> Cibernazione$a<> rivelazione cibernetica$fscritti di Valerio Tonini ( Prospettive sociali della cibernazione) e Donald M. Michael ( prospettive sociali della cibernazione )$gcon appendice bibliografica 210 $aRoma$cTumminelli$d1968 215 $aVI, 94 p.$d27 cm 300 $asupplemento 3 di "Futuribili" 410 0$12001 454 1$12001 461 1$1001-------$12001 700 1$aTONINI,$bValerio$050950 701 1$aMICHAEL,$bM. Donald$0559428 801 0$aIT$bsalbc$gISBD 912 $a990001477060203316 951 $aII.6. 963(VI C 1604)$b32394 L.M.$cVI P 959 $aBK 969 $aUMA 979 $aSIAV9$b01$c20040304$lUSA01$h1201 979 $aPATRY$b90$c20040406$lUSA01$h1743 979 $aSIAVER$b90$c20040521$lUSA01$h1250 979 $aCOPAT3$b90$c20051005$lUSA01$h1051 979 $aPATRY$b90$c20060712$lUSA01$h1118 996 $aCibernazione$9937076 996 $aRivelazione cibernetica$9937077 997 $aUNISA LEADER 03215nam 2200661 450 001 9910788710003321 005 20230607232319.0 010 $a3-11-089987-6 024 7 $a10.1515/9783110899870 035 $a(CKB)3390000000034271 035 $a(EBL)3043060 035 $a(OCoLC)922946148 035 $a(SSID)ssj0001035011 035 $a(PQKBManifestationID)11568681 035 $a(PQKBTitleCode)TC0001035011 035 $a(PQKBWorkID)11028923 035 $a(PQKB)10002620 035 $a(MiAaPQ)EBC3043060 035 $a(DE-B1597)56111 035 $a(OCoLC)979764771 035 $a(DE-B1597)9783110899870 035 $a(Au-PeEL)EBL3043060 035 $a(CaPaEBR)ebr10755238 035 $a(EXLCZ)993390000000034271 100 $a20020419d2002 uy 0 101 0 $aeng 135 $aurnn#---|u||u 181 $ctxt 182 $cc 183 $acr 200 10$aSigns of music $ea guide to musical semiotics /$fby Eero Tarasti 205 $aReprint 2012 210 1$aBerlin ;$aNew York :$cMouton de Gruyter,$d2002. 215 $a1 online resource (232 p.) 225 0 $aApproaches to Applied Semiotics [AAS] ;$v3 300 $aDescription based upon print version of record. 311 0 $a3-11-017227-5 311 0 $a3-11-017226-7 320 $aIncludes bibliographical references (pages [201]-217) and index. 327 $tFront matter --$tForeword --$tContents --$tPart one: Music as sign --$tChapter 1. Is music sign? --$tChapter 2. Signs in music history, history of music semiotics --$tChapter 3. Signs as acts and events: On musical situations --$tPart two: Gender, biology, and transcendence --$tChapter 4. Metaphors of nature and organicism in music: A "biosemiotic" approach --$tChapter 5. The emancipation of the sign: On corporeal and gestural meanings in music --$tChapter 6. Body and transcendence in Chopin --$tPart three: Social and musical practices --$tChapter 7. Voice and identity --$tChapter 8. On the semiosis of musical improvisation: From Mastersingers to Bororo indians --$tNotes --$tReferences --$tName index 330 $aMusic is said to be the most autonomous and least representative of all the arts. However, it reflects in many ways the realities around it and influences its social and cultural environments. Music is as much biology, gender, gesture - something intertextual, even transcendental. Musical signs can be studied throughout their history as well as musical semiotics with its own background. Composers from Chopin to Sibelius and authors from Nietzsche to Greimas and Barthes illustrate the avenues of this new discipline within semiotics and musicology. 410 0$aApproaches to Applied Semiotics [AAS] 606 $aMusic$xPhilosophy and aesthetics 606 $aMusic$xSemiotics 606 $aSymbolism in music 615 0$aMusic$xPhilosophy and aesthetics. 615 0$aMusic$xSemiotics. 615 0$aSymbolism in music. 676 $a780/.1/4 686 $aLR 56820$qSEPA$2rvk 700 $aTarasti$b Eero$01109137 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910788710003321 996 $aSigns of music$93831530 997 $aUNINA