Publication details
Semiology in Music and Art: Czech Music Semiology
| Basic information | |
|---|---|
| Original title: | Semiology in Music and Art: Czech Music Semiology |
| Author: | Lubomír Spurný |
| Further information | |
|---|---|
| Citation: | SPURNÝ, Lubomír. Semiology in Music and Art: Czech Music
Semiology (Semiology in Music and Art: Czech Music Semiology).
In Approaches to Music Research: Between Practice and
Epistemology. 1. vyd. Frankfurt am Main: Peter Lang,
Internationaler Verlag der Wissenschaften, 2011. p. 79 -83, 5
pp. Methodoly of Music Research. ISBN 978-3-631-59200-7.Export BibTeX@inbook{967058, author = {Spurný, Lubomír}, address = {Frankfurt am Main}, booktitle = {Approaches to Music Research: Between Practice and Epistemology}, edition = {1. vyd.}, keywords = {Semiology; Music; Music Semiology; Music Analysis}, language = {eng}, location = {Frankfurt am Main}, isbn = {978 -3-631-59200-7},pages = {79 -83},publisher = {Peter Lang, Internationaler Verlag der Wissenschaften}, title = {Semiology in Music and Art: Czech Music Semiology}, url = {http://www.peterlang.com/index.cfm?event=cmp.cst.ebooks.datasheet&id=55707}, year = {2011} } |
| Original language: | English |
| Field: | Art, architecture, cultural heritage |
| WWW: |  http://www.peterlang.com/index.cfm?event=cmp.cst.ebooks.datasheet&id=55707 |
| Type: | Chapter of a book |
| Keywords: | Semiology; Music; Music Semiology; Music Analysis |
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.
