The idea proposed in this paper is that the intermedial, translating capability of music is well exemplified by the functioning of the musical genres, as we can deduce it by the names of the genres themselves. After a general theoretic framing of the notion of musical genre, the result of an explorative lexical-semantic analysis of a corpus of genre names is displayed; the aim is to build up a name-based typology of genres (a meta-typology, as genres are already a way by which we classify music) and to understand the possible basic values underlying this typology.

What kind of genre do you think we are? Genre theories, genre names and classes within music intermedial ecology

Gabriele Marino
2015-01-01

Abstract

The idea proposed in this paper is that the intermedial, translating capability of music is well exemplified by the functioning of the musical genres, as we can deduce it by the names of the genres themselves. After a general theoretic framing of the notion of musical genre, the result of an explorative lexical-semantic analysis of a corpus of genre names is displayed; the aim is to build up a name-based typology of genres (a meta-typology, as genres are already a way by which we classify music) and to understand the possible basic values underlying this typology.
2015
Music, Analysis, Experience. New Perspectives in Musical Semiotics
Leuven University Press
240
254
978-94-6270-044-4
Lexical semantics, Music genres, Onomasiology/Semasiology, Popular music, Semiotics
Gabriele Marino
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/2318/1760965
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