Referential iconicity in music and speech

Giraldo, Veronica

doi:10.37693/pjos.2019.9.20283

Cited by 5 publications

(3 citation statements)

References 24 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…The study adopted a qualitative research approach, combining formal and semiotic analytical frameworks to examine a musical score (Giraldo, 2019). This methodology aligns with the perspective of Merriam and Grenier (2019), who assert that qualitative research typically involves gathering data from natural settings, with the researcher serving as the primary instrument.…”

Section: Methods and Processmentioning

confidence: 99%

“…It is anticipated that this paper will contribute to a deeper understanding of the concept of iconicity among both composers and consumers of musical arts. Giraldo (2019), drawing upon the insights of Louhema (2018) and Stampoulidis (2019), underscores the interconnectedness of signs, highlighting that they operate within intricate relationships to convey composite meanings, akin to narratives. This characteristic is deeply ingrained in African culture, where symbolism permeates every facet, including music.…”

Section: Introductionmentioning

confidence: 95%

“…It allows listeners to appreciate the song on a more profound level, beyond just its surface melody. Songs often contain symbols, metaphors, and references that are culturally specific (Giraldo, 2019). As Kuttner (2020) postulated, exploring these symbolic meanings helps to uncover the cultural significance within a particular community or society.…”

Section: Introductionmentioning

confidence: 99%

See 2 more Smart Citations

Beyond the Melody: The Symbolic Meaning of Kɔkɔsakyi by Augustine Adu Safo

2024

IJFMR

View full text Add to dashboard Cite

This research delves into the musical iconicity found within Adu Safo's music composition, "Kɔkɔsakyi" (Vulture), going beyond its mere melody to explore its cultural and symbolic dimensions. Employing a semiotic framework, the composition was sampled purposefully and used as case study to examine how various musical elements evoke and symbolize non-musical concepts, particularly focusing on the representation of the vulture as a symbol of procrastination within Ghanaian society. Using the idea of the theory of semiotics and its inherent analytical frame, the study unravels the understanding of Adu Safo's compositional techniques, shedding light on the creation of iconic music. Key findings indicate that "Kɔkɔsakyi" skillfully utilises melody, rhythm, and lyrics to depict the character of the vulture, offering insightful reflections on the perils of procrastination. By integrating sound and text within the cultural context of Kɔkɔsakyi, the composition underscores the capacity of a musical composition as a potent medium for conveying socio-cultural values. Ultimately, this paper serves as a valuable resource for educators, students, and composers alike, offering insights into the use of iconic representations in art music compositions.

show abstract

Section: Methods and Processmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 95%

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

Beyond the Melody: The Symbolic Meaning of Kɔkɔsakyi by Augustine Adu Safo

2024

IJFMR

View full text Add to dashboard Cite

show abstract

Pantomime as the original human-specific communicative system

Zlatev

ywiczyński

Wacewicz

2020

Journal of Language Evolution

View full text Add to dashboard Cite

We propose reframing one of the key questions in the field of language evolution as what was the original human-specific communicative system? With the help of cognitive semiotics, first we clarify the difference between signals, which characterize animal communication, and signs, which do not replace but complement signals in human communication. We claim that the evolution of bodily mimesis allowed for the use of signs, and the social-cognitive skills needed to support them to emerge in hominin evolution. Neither signs nor signals operate single-handedly, but as part of semiotic systems. Communicative systems can be either monosemiotic or polysemiotic—the former consisting of a single semiotic system and the latter, of several. Our proposal is that pantomime, as the original human-specific communicative system, should be characterized as polysemiotic: dominated by gesture but also including vocalization, facial expression, and possibly the rudiments of depiction. Given that pantomimic gestures must have been maximally similar to bodily actions, we characterize them as typically (1) dominated by iconicity, (2) of the primary kind, (3) involving the whole body, (4) performed from a first-person perspective, (5) concerning peripersonal space, and (6) using the Enacting mode of representation.

show abstract

Cross-modal iconicity and indexicality in the production of lexical sensory and emotional signs in Finnish Sign Language

Keränen

2023

Cognitive Linguistics

View full text Add to dashboard Cite

In the present study, cross-modal (i.e., across sensory modalities such as smell and sound) iconicity (i.e., resemblance) and indexicality (i.e., contiguity) in lexical sensory and emotional signs in Finnish Sign Language will be considered from an articulatory perspective (i.e., the production of signs). Such cross-modal iconicity has not been extensively studied previously, so here, with the help of cognitive semiotics, I aim to carefully describe the cross-modal patterns observed across 118 signs, including 60 sensory signs and 58 emotional signs. The analysis is framed within the theoretical model of Semiotic Hierarchy, which entails a non-reductionist view of meaning. In addition, a pheno-methodological triangulation will be applied: phenomenology (first-person method), literature of phenomenological and semiotic descriptions (second-person perspective) and experimental findings (third-person perspective). The results of this analysis show that (a) 71 of the 118 sensory and emotional signs are cross-modally indexical, (b) only 10 of the 71 signs can be regarded as cross-modally iconic, (c) cross-modal iconicity is highly diagrammatic, (d) iconicity and indexicality are highly integrated, and (e) articulatory feedback matters in the formation of semiotic patterns. This study contributes to our understanding of cross-modal iconicity in signed languages, as well as studies in semiotic systems more generally.

show abstract

Referential iconicity in music and speech

Cited by 5 publications

References 24 publications

Beyond the Melody: The Symbolic Meaning of Kɔkɔsakyi by Augustine Adu Safo

Beyond the Melody: The Symbolic Meaning of Kɔkɔsakyi by Augustine Adu Safo

Pantomime as the original human-specific communicative system

Cross-modal iconicity and indexicality in the production of lexical sensory and emotional signs in Finnish Sign Language

Contact Info

Product

Resources

About