Musical Semiotics

Narrative Modes in Acousmatic Music

“…In another direction, we find these same archetypes invoked in electroacoustic performance, most notably perhaps in Vande Gorne's 'Spatial Figures' (2002). Similar archetypes arise in musical theory more generally (for example Huron 2006, or Lerdahl & Jackendoff 1983, as well as in musical narratology (for example Grabócz 2011, Tarasti 1994, Almén 2008, and then in narratology more generally -for example in the famous 'Seven Basic Plots', albeit in a somewhat more developed form (Booker 2004). Unsurprisingly, we find these same archetypes among the 'embodied gestalts' described for example by Johnson (1987); indeed, it is likely due to their presence as embodied gestalts that we recognise them in so many other contexts, across levels of human activity, culture, consciousness, biology, and identity (Mâche 1992;Jung 1964;Campbell 1972).…”

“…To some extent this is due to the characteristics and genesis of the genre: on the one hand, acousmatic music's deployment of recorded real-world materials tends to carry with it a range of realworld references and associations that almost inevitably evoke a narrative experience of the work (Andean 2010); on the other hand, however, this narrative aspect results from much deeper features of the principles of the genre, due in no small part to the phenomenological emphasis of Pierre Schaeffer (1952; in the birth of the art form. Of course, many say the same of music in general -that musical experience is a fundamentally narrative experience (among others, Almén 2008, Grabócz 2009, Tarasti 1994). However, acousmatic music is more deeply -or at least more clearlynarrative than can be claimed for music in general, in part due to its prioritising of perceptual response over structural elements, but also of course due to some of the resources at its disposal.…”

Musical space organisation exemplified by variations for piano op. 27 by Anton Webern

“…У оквиру своје теорије музичке семиотике (Tarasti, 1994) Тарасти посвећује пажњу и питању музичке просторности. За њега је музички простор, поред музичког времена и музичке акторијалности, једна од основних компоненти музичке семиозе.…”

A typology of music information for studies on information seeking

“…In their works on musicology and musical semiotics, Bengtsson (1977) and Tarasti (1994) examine the different systems of description relevant to musical communication. According to Bengtsson (1977), the concept of tone may refer to a notated tone, a measurable frequency or an aural experience.…”

“…The juxtaposition of Tarasti's (1994) Theory of musical semiotics and Kuhlthau's (2004) Information search process (ISP) model creates the starting point for this study. In their works on musicology and musical semiotics, Bengtsson (1977) and Tarasti (1994) examine the different systems of description relevant to musical communication.…”