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No detailed description available for "Myth and Music".

Music and mythology. --- Music --- Philosophy and aesthetics. --- Semiotics. --- Semiotics --- Wagner, Richard --- Stravinski, Igor --- Sibelius, Jean --- -Music --- -Music and mythology --- Mythology and music --- Mythology --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Philosophy and aesthetics --- Hermeneutics (Music) --- Musical aesthetics --- Aesthetics --- Philosophy --- Music and mythology --- Music theory --- Sémiotique et musique --- Sémiotique et musique. --- Sémiotique et musique.

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Music is said to be the most autonomous and least representative of all the arts. However, it reflects in many ways the realities around it and influences its social and cultural environments. Music is as much biology, gender, gesture - something intertextual, even transcendental. Musical signs can be studied throughout their history as well as musical semiotics with its own background. Composers from Chopin to Sibelius and authors from Nietzsche to Greimas and Barthes illustrate the avenues of this new discipline within semiotics and musicology.

Music --- Symbolism in music. --- Philosophy and aesthetics. --- Semiotics. --- Symbolism in music --- Semiotics --- Hermeneutics (Music) --- Musical aesthetics --- Aesthetics --- Music theory --- Philosophy and aesthetics --- Philosophy

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Musical semiotics is a new discipline and paradigm of both semiotics and musicology. In its tradition, the current volume constitutes a radically new solution to the theoretical problem of how musical meanings emerge and how they are transmitted by musical signs even in most "absolute" and abstract musical works of Western classical heritage. Works from symphonies, lied, chamber music to opera are approached and studied here with methods of semiotic inspiration. Its analyses stem from systematic methods in the author's previous work, yet totally new analytic concepts are also launched in order to elucidate profound musical significations verbally. The book reflects the new phase in the author's semiotic approach, the one characterized by the so-called "existential semiotics" elaborated on the basis of philosophers from Kant , Hegel and Kierkegaard to Jaspers, Heidegger, Sartre and Marcel. The key notions like musical subject, Schein, becoming, temporality, modalities, Dasein, transcendence put musical facts in a completely new light and perspectives of interpretation. The volume attempts to make explicit what is implicit in every musical interpretation, intuition and understanding: to explain how compositions and composers "talk" to us. Its analyses are accessible due to the book's universal approach. Music is experienced as a language, communicating from one subject to another.

Music --- Hermeneutics (Music) --- Musical aesthetics --- Aesthetics --- Music theory --- Semiotics --- Semiotics. --- Philosophy and aesthetics. --- Philosophy --- Classical Music. --- Communication Studies. --- Musicology. --- Philosophy.

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Semiotics - Philosophy --- Semiotics

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