Is that a new language coming? Some questions concerning music semiotics vocabulary
Music semiotics is a branch of music theory that has been particularly developing since the 1960s. As semiotics moved from general linguistics, structuralism and theory of communication to cognitive and psychological linguistics, as sources of understanding music cognition – that is, as it moved fro...
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| Format: | Article |
| Language: | Croatian |
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Institut za hrvatski jezik i jezikoslovlje
2018-01-01
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| Series: | Rasprave Instituta za Hrvatski Jezik i Jezikoslovlje |
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| Online Access: | https://hrcak.srce.hr/file/318241 |
| Summary: | Music semiotics is a branch of music theory that has been particularly developing since the 1960s. As semiotics moved from general linguistics, structuralism and theory of communication to cognitive and psychological linguistics, as sources of understanding music cognition – that is, as it moved from “hard” to “soft” semiotics as Agawu calls them (1999: 154) – its vocabulary became strongly metaphoric and complex. At the same time, there was no strict convention concerning the usage of the vocabulary in question. In this paper, I will focus on some important interrelated issues of music semiotics vocabulary, such as the concept of meaning, and all rhetorical variations regarding this term in music. Special attention will be given to explanation of terminological issues of the two most prominent “languages” of music semiotics, that of Robert Hatten and Eero Tarasti. |
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| ISSN: | 1331-6745 1849-0379 |