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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.
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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.
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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.
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