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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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These are fundamental and passionate musical facts to which Discohrse scheme is disappointingly unresponsive. A Semiotic Interpretation of Classic Music. Sign in to use this feature. New search User lists Site feedback Ask a librarian Help.

From the Publisher via CrossRef no proxy jstor. In the realm of the senses: It is illusory to suggest that musical works signify if one does not specify, each time and systematically, what musical realities these idscourse are supported by. Cite this Email this Add to favourites Print this page. The acquisition of music and musical works is always fragmentary. How do I find a book?

Music and Discourse – Jean-Jacques Nattiez – Google Books

Towards a Semiology of Music. The universal voices of the mid-to-late century, the grand old methods, are getting older and grander, but the land they preside over appears increasingly restrictive. 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.

Nattiez’ central thesis is that the tripartition of the musical fact into the poietic, aesthesic and neutral planes can serve as a universal musicological framework. Hence it has two identities.

Though not programmatically constrained, Katz and Dahlhaus are no more adventurous jean-jacqufs Lippman with respect to non-Western sources.


Discourse about music is for Nattiez, as it is also for discokrse generally, part of the “total musical fact,” and the explication of relations between music and the discourses it engenders is among the chief internal developments of the theory. Order a copy Copyright or permission restrictions may apply.

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Towards a semiology of music, by Jean-Jacques Nattiez.

Aesthetics Philosophy of Music in Aesthetics categorize this paper. Even with this limitation, we have no method to deal with such a wealth of pertinent material as disdourse display. However the harvest from jan-jacques editors’ hunting and gathering is frequently stunning. Further information on the Library’s opening hours is available at: Gianmario Borio – – Topoi 28 2: The Katz-Dahlhaus collection is a four volume work, the individual volumes running from to pages.

Aesthetic Negativity and Aisthetic Traits. In fact, his general introduction anticipates that pressure. Toward a Semiology of Music.

Jonathan Owen Clark – – Critical Horizons 16 1: Despite the obvious virtuosity of the accompanying rationales and stimulating introductions, I fear these groupings will offer little support to the novice and no real coherence for the initiate. As required to reveal his comprehension schemea, Nattiez examines probles which pertain to music discourze e. The very positive reception of his book maybe a kind of evidence of this in itself I have teamed his discoudse essay with two massive eiscourse in musical aesthetics to suggest other, perhaps more covert, signs of shifting ground.

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Musicologie generale et semiologie. Ill and IV in Press.

Can Classical Music Be Saved? Thus, in general Nattiez anttiez the communicative capacity of signs as secondary and inessential. Lippman’s collection is a work in three volumes of over pages.

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Friderich Schlegel, Athenaeum fragment No keywords specified fix it. Original work pub- lished Taruskin, R.

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In this capacity it will prove invaluable for researchers and graduate students alike, and to that end an English translation would be a helpful next step. Through his precision and persistence in restoring ideas to their historical contexts he brought to the criticism of music a technique reminiscent of the “negative dialectics of the Frankfurt school and succeeded thereby in introducing those problems of value judgement which relativism like Nattiez’ had seemed to render inaccessible.

Readers of his current Wagner monograph may feel the degree to which it highlights the multiplicity of analytical constructions and pro- posed networks of signification implicitly endorses a uean-jacques relativistic agenda, one that has dominated postmodern discourse. A legion of young musical scholars well versed in semiotic methodologies of many colors must recognize that their own control of sources owes a great debt to Discourwe prodigious talent for bibliography and synthesis.

The topic has become shopworn to the point of self parody. 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.

Sight, sound and the music of desire in Tristan und Isolde. The Music Between Us: Don’t already have an Oxford Academic account? Can I get a copy?