Jean-Jacques NATTIEZ, Music and Discours translated from the French by Carolyn A. Princeton University Press, , XV + examples. Musicology is often. Buy a cheap copy of Music and Discourse book by Jean-Jacques Nattiez. In this book Jean-Jacques Nattiez, well-known for his pioneering work in musical. Music and Discourse: Toward a Semiology of Music · Jean-Jacques Nattiez & Carolyn Abbate · Journal of Aesthetics and Art Criticism 51 (1) (). Like.

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See what’s been added to the collection in the current 1 2 3 4 5 6 weeks months years. Sandra Soltau – – Lang. Sign in via your Institution Sign in. Source Readings in the Aesthetics of Music.

Music and Discourse

Towards a semiology of music C. Don’t have an account? Music, Meaning and Media.

For Nattiez it is paramount to acknowledge that the interpretations attached to the sign in the process of production Poiesis may be entirely independent of the chain of interpretations evolved through the process of reception esthesis.

Along the way, the journey is at times illuminating, at times fascinating, as a spur to critical self-reflection. The Battle of Chronos and Orpheus: On this topic, see Thomas Greyp. The Case of Modern Classical Music. I mention this possibility not to conclude with an air of enigmatic wisdom but to point out the semiotic consequence of cultural explorations in a media that simply may lack such deep guiding constraints as those that may be genetically determined for language.

But it is also the transfiguration of the [Schopenhauerian] spirit of the music that gave birth to Tristan.

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The new dimension disourse the theory in comparison with his Fondements is its emphasis on the ‘symbolic’ as a distinct ontological plane. BookOnline – Google Books. A similar rationale — and letter — leads to the genealogy of Venetian gondola songs p. A Semiotic Mueic of Classic Music. Gianmario Borio – – Topoi 28 2: Eschewing aesthetics as a speciality, the editors attempt to reach discoursse as broadly as possible into formal philosophy and criticism for the widest examples of “the kinds of issues raised and msuic of the answers given in the course of systematic philosophizing about music” p.

Original work pub- lished Taruskin, R. From 25 December to 1 Januarythe Jean-jacquds Reading Rooms will be closed and no collection requests will be filled. The tack of this set is quite opposite to Lippman’s. The relation of semiotics to aesthetics pivots around the difficult problem of understanding how and to what degree works or styles of art can be understood as autonomous signs.

The very positive reception of his book maybe a kind of evidence of this in itself I have teamed his svelte essay with two massive anthologies in musical aesthetics to suggest other, perhaps more covert, signs of shifting ground.

Can I borrow this item? Otherwise we would not witness the appearance of new methods made necessary by the emergence of unresolved problems and unexpected enigmas. To learn more about Copies Direct watch this short online video. Here, as seems to me generally the case, the most original and provocative aspects of his work are his jean-jaqcues of received musicological theories in terms of their affiliation with what he identifies as their aesthetic or poietic sources.


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Yet, it may be that the universal musicology is necessarily a chimera: In fact, his general introduction anticipates that pressure. Request removal from index.

Collection delivery service resumes on Wednesday 2 January It seems patent that the desire to understand music as communication is culturally widespread and that the distinction between understanding music and misunderstanding it is highly valued in most musical cultures.

Toward a Semiology of Music. Skip to main content. Cite this Email this Add to favourites Print this page. The topic has become shopworn to the point jean-jacquds self parody. Journal of Aesthetics and Art Criticism 51 1: The Philosophy of Music.

Music and Discourse – Jean-Jacques Nattiez – Google Books

A Journal of Comparative Philosophy 12 3: Marcel Cobussen – – Ashgate. The anthology is historically organized overall and divided to reflect the polemics of specific historical and European national movements.

The papers result- ing from a subsequent, related symposium on the topic in were published in a special issue of Musicae Scientiae in Music — in one or another sense of the word jean-jaacques is manifested in all times and cultures, but before the twentieth century educated Europeans and North Americans felt that their classical music was a uniquely serious art. Nattiez is insistent that semiotics might include but can not replace aesthetics, but the ethnological and historical expansion of musical horizons which begs for a revision of our musicological framework is equally unsettling for the discipline of musical aesthetics.

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