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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We now know better; however, the institutional teaching and study of music, its theory and its history is still oriented by the repertoire of cultivated music in France, Germany and Italy from to I can’t find any clear exception outside of the culture of the university. 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.

In the last volume, musical semiotics is briefly and narrowly represented by Ruwet’s pivotal essay on hierarchical segmentation in music.

To learn more about Copies Direct watch this short online video. By Jean-Jacques Nattiez, The book is divided into a substantial introduction that lays out Nattiez’s conception of semiotics, a section of three chapters demonstrating the pertinence of this semiotic to music itself, and four chapters showing its application to discourse about music. Close mobile search navigation Article navigation. Though not programmatically constrained, Katz and Dahlhaus are no more adventurous than Lippman with respect to non-Western sources.

The paradigm is under increasing stress as our geographic and chronological horizons broaden. Aesthetics and materialism in German musical identity. Numbers 4 and 5, respectively, are the anthologies Musical Aesthetics: Finally, it is the immediate expression of the will by which Wagner the Redeemer brings us redemption with Tristan und Isolde.


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Find it on Scholar. Help Center Find new research papers in: The obligation having been met, it would be foolish to denigrate these fine projects on those grounds. This breaks down into two intellectual zones: The late Carl Dahlhaus was arguably the most important musicologist of his generation. One of the two most interesting aspects of Nattiez’s new book is that it imposes to take semiotics as the framework which encompasses and directs a universal musicology. Publisher description Broken link?

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In the realm of the jeaan-jacques 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. Music — in one or another sense of the word — is manifested in all times and cultures, but before the twentieth century educated Europeans and North Americans felt that their classical music was a uniquely serious art.

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 familiar relativistic agenda, one that has dominated postmodern discourse.

The principal categories of — the neutral or immanentthe esthesic, and the poietic — have proven a durable model. The English version is a pleasantly clear and fluent translation by Carolyn Abbate from the original in French which she has abridged by two chapters.

The Katz-Dahlhaus collection is a four volume work, the individual volumes running from to pages. Sign in Create an account. Nevertheless, the reader who does not close the book in impatience will find that there is new material here, for Nattiez is, inter alia, a distinguished and original Wagner scholar Nattiez, and the theories he reviews do provide grist for his semiotic method.

The very positive reception of his book maybe a kind of evidence of this in itself I have teamed his svelte essay with two massive muic in musical aesthetics to suggest other, perhaps more covert, signs of shifting ground. Sign in via your Institution Sign in.


Katz and Dahlhaus, but not Lippman are meticulous in identifying the sources of public domain materials. Source Readings in the Aesthetics of Music. Toward a Semiology of Music. Along the way, the journey is at times illuminating, at times fascinating, as a spur to critical self-reflection. Wagner to Franz Liszt, 7 Junein Wagnerpp.

New search User lists Site feedback Ask a librarian Help. Edited by Ruth Katz and Carl Dahlhaus. Most users should sign in with their email address. To do so we must obey certain fundamental principles. See, most recently, Cook The Musical Times, 7— History of Western Philosophy.

Amid a series of robust mid-century debates over melodic theory, melody was often defined — in the shadow of language and Philologie — along national lines, and a number of German writers, Wagner included, allied it in the strong sense to Bellinian form. These are fundamental and passionate musical facts to which Nattiez’ scheme is disappointingly unresponsive.

Music and Discourse – Jean-Jacques Nattiez – Google Books

You can view this on the NLA website. Order a copy Copyright or permission restrictions may apply. Only the first two have been released; the others are scheduled for next year. The other musoc that it proposes an explicit and coherent theory of semiotics. It seems patent that the desire to understand music as mueic is culturally widespread and that the distinction between understanding music and misunderstanding it is highly valued in most musical cultures.