Home Slovenská hudba 2013 Slovenská hudba, Vol. 39, No 4, p.366-375

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Slovenská hudba, Vol. 39, No 4, p.366-375

Title: Sémantická hudobná analýza – historické a semiologicko- -lingvistické možnosti
Author: Hartmut Krones

Abstract: Semantic Music Analysis and Its Historical and Semiological-linguistic Prospects
The belief that music should be considered a kind of ‘speech’ held true for the major part of European music history. Based on this a more or less generally valid vocabulary of semantic assignments or meanings existed and was spreading out. But it is difficult to ‘systemize’ this vocabulary for adescription of some ‘overall meaning’ of music, as it should be based on a particular era and even on the creation of a particular composer. This is the reason why the Czech music semiotic team, member of which was also Jaroslav Jiránek, did not succeed to ‘find and record partial meanings’ independent of specific characteristics of the era when the given pieces originated. The necessity and usefulness of knowledge of the vocabulary of ‘semantic’ musical-rhetorical figures in their specific period appearance are proven by analyses of Anton Leopold Siebigk (apart from other analyses he analysed also the terzetto Soll ich dich, Teurer, nicht mehr sehn from Mozart’s The Magic Flute), Ernst Theodor August Hoffmann (Beethoven), Friedrich August Kanne (Mozart’s piano pieces), Warren Kirkendale (Beethoven’s Missa solemnis). Despite his primary ahistorical attitude even Eero Tarasti, who has accomplished the up-to-date semiotic analysis of the song Der Tod, das ist die kühle Nacht by Johannes Brahms, works with gesture-psychological vocabulary, which had developed from ancient music doctrines about symbols, and in the 19th century it evolved into a connotative-psychological vocabulary. The systemization of signs by modern semiotics has brought a number of new methods of semantic music analysis with itself, which are not based on the historically confirmed vocabulary. However, even contemporary semantic music analysis very often uses the terms which only insignificantly differ from semantic assignments – meanings – in traditional textbooks on music rhetoric and symbolism. This confirms the time independency of logic from its syntax, as well as legitimacy of new opinions, as long as they do not deny the semantic potential of music and do not ignore the historical dimension.

Year: 2014, Volume: 39, Issue: 4 Page From: 366, Page To: 375

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