Description
Explore the intricate relationship between music and human perception with 'Music and Discourse' by Jean-Jacques Nattiez, a seminal work in musical semiology. This brand-new trade paperback, published in 1991 by Princeton University Press, invites readers to delve deep into the questions surrounding what defines a musical work and the cultural contexts that shape our understanding of music. By bridging philosophy, anthropology, and music analysis, Nattiez presents a compelling global theory for interpreting the myriad ways music affects human behavior. This book not only interrogates the concept of the musical sign through the lens of Peircian semiotics but also offers insights into how different cultures ascribe meaning to musical phenomena. With discussions on the psychology of music and non-Western metaphorical descriptions, Nattiez builds a rich tapestry of knowledge that enlightens the reader on the complexities of musical aesthetics. A key feature of this work is an analytical chapter on the Tristan chord, emphasizing how interpretations are often influenced by overarching narratives. Dive into this essential resource for musicologists, students, or anyone interested in the deeper meanings behind melodies. Note: Shipping for this item is free. Please allow up to 6 weeks for delivery. Once your order is placed, it cannot be cancelled.
Note: Shipping for this item is free. Please allow up to 6 weeks for delivery. Once your order is placed, it cannot be cancelled.
Condition: BRAND NEW
ISBN: 9780691027142
Format: Trade paperback (US)
Year: 1991
Publisher: Princeton University Press
Description:
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.
Note: Shipping for this item is free. Please allow up to 6 weeks for delivery. Once your order is placed, it cannot be cancelled.
Condition: BRAND NEW
ISBN: 9780691027142
Format: Trade paperback (US)
Year: 1991
Publisher: Princeton University Press
Description:
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.