The essay addresses the problematic development of musical semiotics within general semiotics and in comparison with other applied semiotics. It is suggested that it is possible to recover key notions and analytical tools from the tradition of the discipline in order to develop Greimas’ project further; namely, that the seed of innovation may be grounded in routes that have already been explored by the discipline, not outside of its domain. In particular, by referring to the proposal by Jacoviello, it is suggested to recover the semiotics of plastic arts or plastic semiotics, as elaborated by the Paris School with regard to visual texts such as non-figurative or abstract paintings, in order to deal with such an “ineffable” matter as sound and music.
New musical semiotics? Innovation through tradition
Gabriele Marino
2016-01-01
Abstract
The essay addresses the problematic development of musical semiotics within general semiotics and in comparison with other applied semiotics. It is suggested that it is possible to recover key notions and analytical tools from the tradition of the discipline in order to develop Greimas’ project further; namely, that the seed of innovation may be grounded in routes that have already been explored by the discipline, not outside of its domain. In particular, by referring to the proposal by Jacoviello, it is suggested to recover the semiotics of plastic arts or plastic semiotics, as elaborated by the Paris School with regard to visual texts such as non-figurative or abstract paintings, in order to deal with such an “ineffable” matter as sound and music.File | Dimensione | Formato | |
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Marino_2016_Sofia_New_Musical_Semiotics.pdf
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