A01=Jean-Jacques Nattiez
Ambiguity
Analogy
Anton Webern
Appoggiatura
Art music
Atonality
Author_Jean-Jacques Nattiez
Category=AVA
Circular reasoning
Composer
Connotation
Critique
Definition of music
Degree (music)
Discourse
Electroacoustic music
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Ethnomusicology
Experimental music
Explanation
Family resemblance
Generative theory of tonal music
Genre
Hans Keller
Harmonic analysis
Harmonic series (music)
Harmonielehre
Hector Berlioz
Improvisation
Instance (computer science)
Intentionality
Interpretant
Linguistics
Literature
Manichaeism
Metalanguage
Music Is
Music theory
Musical analysis
Musical composition
Musical form
Musical language
Musicology
Musique concrete
Narrative
New Simplicity
Nominalism
Notation
Notations
Oral tradition
Overtone
Phenomenon
Phrase
Phrase (music)
Pierre Boulez
Pierre Schaeffer
Religion
Result
Richard Wagner
Scholasticism
Semiosis
Semiotics
Seriation (archaeology)
Sound mass
Terminology
The Philosopher
Theory
Thought
Timbre
Tonality
Tristan chord
Undertone series
Writing
Product details
- ISBN 9780691027142
- Weight: 425g
- Dimensions: 152 x 229mm
- Publication Date: 21 Nov 1990
- Publisher: Princeton University Press
- Publication City/Country: US
- Product Form: Paperback
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In this book Jean-Jacques Nattiez, well-known for his pioneering work in musical semiology, examines both music, and discourse about music, as products of human activity that are perceived in varying ways by various cultures. Asking such questions as "what is a musical work" and "what constitutes music," Nattiez draws from philosophy, anthropology, music analysis, and history to propose a global theory for the interpretation of specific pieces, the phenomenon of music, and the human behaviors that music elicits. He reviews issues raised by the notion of the musical sign, and shows how Peircian semiotics, with its image of a chain or web of meanings, applies to a consideration of music's infinite and unstable potential for embodying meaning. In exploring the process of ascribing meaning to music, Nattiez reviews writings on the psychology of music, non-Western metaphorical descriptions, music-analytical prose, and writings in the history of musical aesthetics.
A final analytical chapter on the Tristan chord suggests that interpretations of music are cast in terms of analytical plots shaped by transcendent principles, and that any semiological consideration of music must account for these interpretive narratives.
