Meaning construction in verbomusical environments: Conceptual disintegration and metonymy

Pérez-Sobrino, Paula

doi:10.1016/j.pragma.2014.06.008

Cited by 28 publications

(4 citation statements)

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“…Pese a los logros alcanzados por la semiología musical, la vinculación directa entre las intenciones compositivas y la recepción musical es un asunto delicado; el caso de Vivaldi resulta idóneo como ilustración. Desde teorías de la lingüística cognitiva como la metáfora conceptual (Lakoff y Johnson 1980) y la amalgama conceptual (Fauconnier y Turner 2002), 5 un trabajo reciente ha tratado de ahondar en aspectos de la significación musical (Pérez Sobrino 2014). Dentro de la muestra escogida para dicho estudio se discute La primavera, en concreto el pasaje de su primer movimiento en relación con el canto de los pájaros (Figura 2), desde la noción del eco metonímico (Ruiz de Mendoza Ibáñez 2011, 113).…”

Section: Imágenes Mentales Y Representaciones Musicales: Consideracio...unclassified

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2022

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Section: Imágenes Mentales Y Representaciones Musicales: Consideracio...unclassified

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2022

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“…For example, if I say “Yes please” to the question “Do you want some water?”, my answer is a reliable cue that I understood the speaker’s communicative intention to interact in a certain way with me about a certain part of the world, here the bottle of water, and not only his/her intention to say something about this part of the world. In music, judgments are a relevant material to observe and measure the semantic cognitive processing of a musical work (for empirical studies about semantic processing of Wagnerian leitmotivs and program music, see HaCohen & Wagner, 1997; Pérez-Sobrino, 2014 and, as previously mentioned, Antović et al, 2016). But they are more problematic to observe and measure the recognition of a communicative intention in a musical work through the semantic processing of this work.…”

Section: The Rewriting Between Semantics and Pragmatics: The Conditiomentioning

confidence: 99%

Rewriting Mazeppa: Meaning and communication in Liszt’s virtuoso and program music

Rodríguez

2018

Musicae Scientiae

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Musical virtuosity is often studied with an emphasis on the outstanding skills of the performer and their sensory and emotional effects on the listener. However, Franz Liszt, one of the main virtuosos in music history, was convinced that what matters in virtuosity is its specific function within the semantic and communicative processing of music. This article proposes a theoretical framework to further investigate Liszt's intuitions in light of contemporary research on musical meaning and communication. First, we analyze philological data concerning Liszt's creative process in the Mazeppa works, a set of works including both his virtuoso and program music. Second, we compare our results with recent research on music semantics based on inferential processes about the composer/performer's intentions (Antović, Stamenković, & Figar, 2016; Schlenker, 2017). We criticize the associationist hypothesis (the idea that the composer's intention is that the listener infers an association between the music and a real or fictional state of the world) and we defend a causalist hypothesis (the idea that the composer's intention is that the listener recognizes the music as being an intentional "rewriting" of the states of the world, mental or physical, that are the causes of the music itself). Third, we suggest that what distinguishes Liszt's virtuoso and program music rewritings are the visual and gestural components of two listening experiences: the virtuoso music "rewrites" its episodic causes (memories, personal experiences) whereas the program music "rewrites" its genetic causes (the work's creative path and intertextual relations).

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“…Others believe that music motivates automatic "affective" responses, made possible through the activity of unconscious "parsers" in the mind (Jackendoff and Lerdahl 2006). Still others are interested in how these "proto-affective" states are constrained by musical expectancies (Huron 2006) and also how they may result in actual, consciously experienced emotions (Sloboda 1998). Even closer to linguistic semantics proper, authors often discuss musical conceptualization, either as a semantic, typically metaphorical phenomenon (Brower 2000, Wilkie, Holland andMullholand 2013) or as also related to musical structure (e.g.…”

Section: The Semantics Of Musicmentioning

confidence: 99%