XII
th
INTERNATIONAL CONGRESS ON MUSICAL SIGNIFICATION
MUSIC
SEMIOTICS
INTERMEDIALITY
E-Proceedings of the XII
th
International
Congress on Musical Signification
Abstracts and Extended Abstracts
Edited by
Mark Reybrouck,
Costantino Maeder,
André Helbo,
Eero Tarasti
Main editors: Mark Reybrouck, Costantino Maeder
Music Semiotics Intermediality. Abstracts and Extended Abstracts.
Edited by: Mark Reybrouck, Costantino Maeder, André Helbo, Eero Tarasti
Copyright 2013 M. Reybrouck, C. Maeder, A. Helbo, E. Tarasti:
ISBN: 978-90-9027424-9
Cover design: Costantino Maeder
Published by:
Centro di studi italiani, Université catholique de Louvain, Louvain-la-Neuve.
Section of Musicology, Katholieke Universiteit Leuven, Leuven.
Website of ICMS12: http://studi-italiani.fltr.ucl.ac.be/icms12/Welcome.html
ICMS Webpage: http://www.music.helsinki.fi/musigpro/main.html
iii
PREFACE
Music plays a decisive role in intermedial phenomena as opera, theater, television, advertising, interactive websites, and so
on. Even experiencing a sonata or a Lieder Cycle in a concert is intermedial (the performance, the context of the
performance, the shared experience of the audience, etc.). In this conference, we will deal with the complex and enigmatic
interaction of music, language, acting, performance and surrounding events as well as with the immediate, comprehensive,
all encompassing, sometimes selective response by the audience to these very complex intermedial events.
Semiotics offers important instruments when dealing with these phenomena. This conference will focus on how and why
music is composed and experienced within an intermedial framework. Our aim is to foster a better and comprehensive
understanding of how music works semiotically.
Let us exemplify the ideas developed above: a competent poet writes a libretto. But, his libretto is not only a literary outline:
it contains a projection of possible musical scores and dramatic performances. He distributes his plot on different segments
(recitative/versi sciolti, tempo d’attacco, cantabile, tempo di mezzo, cabaletta, all differentiated metrically) according to his
estimation of what music is able to express, but as well according to what a spectator will be able to experience immediately.
A composer reads and interprets this libretto. His composition offers a new reading of the libretto, according to his own
intentions and experiences, and own view about literature. In doing so, he also imagines what his audience will be able to
experience. The resulting score can differ sensibly from the poet’s “virtual” scores and dramatic performances. A director,
finally, will easily offer a mise en scène that rewrites the composer’s and the poet’s outlines and suggestions. His product
makes also a statement about what music is in his eyes.
A spectator of film, opera, or advertisement, experiences music as a part of an organic whole, even without consciously
listening to the score. Therefore, we cannot separate music from text, acting, drama, image, etc. In this sense, intermediality
does not study theater, opera, or a music album as a mere aggregate of separate media. Many single components of an
intermedial object are connected and interwoven, and imply and mirror the other constituents.
This e-book contains the abstracts and extended abstracts of the XIIth International Congress on Musical Signification
(ICMS
XII) “Music, Semiotics and Intermediality” that was held in Belgium from April 3 – 7, 2013 at Louvain-la-Neuve and
Brussels. It has been organized jointly by the Université Catholique de Louvain (UCL), the University of Leuven (KU
Leuven) the Université Libre de Bruxelles (ULB) and the Royal Academy of Belgium and Collège Belgique under the
auspices of the International Association for Semiotic Studies (IASS), with the University of Helsinki and the International
Semiotics Institute (ISI) as co-organizers and Professors Costantino Maeder (UCL), Mark Reybrouck (KU Leuven), André
Helbo (ULB) and Eero Tarasti (University of Helsinki) as Directors.
The International Congress on Musical Signification (ICMS) is a biennial conference on recent developments and future
trends in Musical Semiotics. It is one of the major platforms of the project of Musical Signification, which was launched in
Paris in 1984, and which has been directed since 27 years by Eero Tarasti at the University of Helsinki. Besides the
conferences, which were held up to now in cities of Europe, there has been also a tradition of publishing of conference
proceedings in printed format in order to give contributions more academic flavour. This tradition has been respected also
for this conference, but in addition to the printed version which will be put together after the conference, the organizers have
chosen to provide at first electronic proceedings at the very beginning of the conference, as is common in most scientific
conferences nowadays. This should be helpful to facilitate the dissemination of ideas, of bibliographic references and
personal coordinates of the presenters more readily without temporal delay.
The 12
thICMS has been inspired greatly by the 12
thICMS1n Krakow (Poland), which was a resounding success. It was a
major challenge of this congress to meet the same scientific and musical standards of that previous conference. A lot of
organizational matters have been copied rather directly from the Krakow conference, but, in contrast to this last conference,
the organizers have tried also to broaden the scope of the conference. This is obvious from the title “Music, semiotics and
intermediality” but also from the conference themes, which started originally from the tripartition “music, analysis,
experience”. Special interest has been paid to the following topics: (i) convergence between traditional musicology with
iv
emphasis on a structural approach to music (music as structure, score analysis) and sense-making by the listener (music as
heard) and performer (music as enacted); (ii) to maintain the link with the central topic of the “International Project on
Musical Signification”: musical sense-making: (iii) stressing the role of the semiotic point of view in its broadest claims:
moving from musical syntax (traditional analysis) over musical semantics (self-reflective or extramusical) to musical
pragmatics (effect on listener or performer); (iv) narratology as a major approach in present musical semiotics ; (v)
encompassing actual and emerging topics of music research such as music and emotion, music as experience, music and the
body, musical universals, music and evolution; (vi) embracing the interdisciplinary approach: bringing together traditional
musicologists and cognitive science and neurobiology; and finally (vii) a broadening of the semiotic approach to encompass
aspect of intermediality as well.
After considering these major conference topics, we have sent a call for papers with the request to submit papers according
to 7 major topics: boundaries of musicology today; musical analysis as related to syntax, semantics and pragmatics; music,
intermediality and experience; narrativity in music; live performances; music production and its actors: composers,
performers, lyricists, audience, etc. and music, body and biology. At the same time, the proposed general theme of the
Congress was versatile enough to realize a broad spectrum of topics and to view the entirety of the question from a multitude
of perspectives. The response to the call has been abundant and has obliged the organizers to reframe the topics in no more
than 43 sessions.
The abstracts and extended abstracts are offered in alphabetical order. They include the short abstracts of some of the
speakers which were sent to the organizers after the first call for paper as well as the extended abstracts of most of them. The
latter elaborate more in depth on the proposed topics and provide a lot of additional information that may be useful to launch
discussions with other participants. We are very happy to have included in this e-book also the “extended” abstracts of most
of the keynote speakers. Many of them are internationally recognized scholars, which have been recruited from a multitude
of perspectives. These e-proceedings are therefore a major attempt to broaden the field of semiotics still more than has been
done already in the past.
v
Organizers
Prof. Dr. Costantino Maeder (Université catholique de
Louvain)
Prof. Dr. Mark Reybrouck (KU Leuven)
Prof. Dr. André Helbo (Université libre de Bruxelles,
Académie Royale de Belgique)
Prof. Dr. Eero Tarasti (Director of the Musical
Signification Project, University of Helsinki)
Artistic Coordination:
Carmela Giusto (UCL)
Staff:
Nathalie Coisman (UCL)
Sonia Henrot (UCL)
Aline Geuze (UCL)
Emmanuelle Fantoni (UCL)
Stéphanie Delcroix
Helping hands (students of the Centro di studi
italiani, UCL):
Pauline Basso
Amélie Castin
Julie Feltz
Maxime Thiry
President of ISI, PMS and AISS
Eero Tarasti
Scientific Committee
Costantino Maeder (UCL)
Mark Reybrouck (KUL)
André Helbo (ULB, ARB)
Ian Cross (University of Cambridge)
Eero Tarasti (Director of the Musical Signification
Project, University of Helsinki)
Robert S. Hatten (University of Texas)
Dario Martinelli (University of Helsinki)
Bernard Vecchione (Université d’Aix-Marseille)
Christine Esclapez (Université d’Aix-Marseille)
Jean-Marie Jacono (Université d’Aix-Marseille)
Márta Grabócz (Université de Strasbourg)
Gino Stefani (Università degli studi di Bologna)
Mieczysław Tomaszewski (Music Academy, Cracow)
Constantin Floros (Universität Hamburg)
Vladimir Petrov (State Institute for Art Studies, Moscow)
Dmitriy Shumilin (Russian Institute for Art History,
St.Petersburg)
Konstantin
Zenkin
(Tchaikovsky
Conservatory,
Moscow)
Websites
Project on Musical Signification
International Association for Semiotic Studies
International Semiotics Institute
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8. 30 Re gi st ra ti o n – Bâ ti m en t M er ci er , P la ce C ar d in al M er ci er , A u d it o ir es S o cr at e 11. 00 OP E N IN G : A n d ré H el b o , C o st an ti n o M ae d er , M ar k R ey b ro u ck , E er o T ar as ti . M u sic an al ysi s - exper ience . S em io tic s a n d in te rm ed ia lit y. SO C R 1 0 13. 00 Lunc h 14. 00 KE YN O TE : Ia n C ro ss ( U n iv er si ty o f C am b ri d ge ). Mu si c, s p ee ch a n d me an in g in i n te ra ct io n . SO C R 1 0 15. 00 Ch ai r: Po dl ipni ak , P. , SO C R 40 Mu si c an d c o gn it io n
‣
Po dl ipni ak , Pi o tr . T o na lit y as one of t he ‘m us ic -sp ec ifi c’ a d ap ta-ti o n s.‣
Hu mi ęcka -Ja ku b o w sk a, Ju st yn a. C o m p u ta tio n al M u sic In fo r-ma ti o n R et ri ev al a n d t h e Mu si ca l R ep re se n ta ti o n s o f So me Id ea s o f th e D ar m st ad t Sc h o o l C o m p o se rs . Ch ai r: Ho ce va r, D. , SO C R 41 Mu si c L an gu ag e an d T h o u gh t‣
Ho ce va r, Dr in a. T h e fu gu e fo rm in li te ra ry p ro se : fr o m c h u rc h o rg an to e le ctr ic g u ita rs .‣
Si m o n, H o rs ten. T ra ns la ti ng m us ic : t w o v er si o n .s of ‘T hr ee t ra p p ed t ig er s’ b y G ui lle rm o C ab re ra In fa n te . Ch ai r: Na gy , SO C R 42 Mu si c an d t ex t, i n te rt ex tu al it y‣
F. d e Ca st ro , P au lo . L a m u si q u e au s ec o n d d eg ré : On G ér ar d G en et te ’s t h eo ry o f tr an st ex tu al it y an d it s m u si cal r el evan ce‣
Na gy , Da n ie l. M yt h c re at io n a n d in te rt ex tu alit y af te r W agn er – th e R in g c yc le a n d T h o m as Ma n n ’s J o se p h a n d h is b ro th er s. Ch ai r: Da vi s, A ., SOC R 4 3 Mu si c A n al ys is a n d S emi o ti cs‣
Po la ns ka , M ar ta . A lfr ed G ra ds tei n’ s H o m m ag e a Ch o p in in t h e co n te xt o f G re at P ia n o E tu d es : Ma st er p ie ce s b y C h o p in , S cr ia b in , De b u ss y an d ot he rs .‣
Da vi s, A n d re w . O b se ss ed w it h t h e Imp o ss ib le : Mu si c as I n te rme d ia ry in t h e Va ri at io n s M o ve m en t of Br ahm s’ s P ia no Sona ta in C m inor , op . 1 .‣
Li ddl e, J am ie. T he Subl im e as a T o pi c in Beet h o-ve n ’s L at e P ian o S o n at as . 16. 30 Br ea k 17. 00 Ch ai r: Ja co n o , J. -M. , SO C R 40 Op er a‣
Fer n án d ez A m at ., C ar m en . Sem ió ti ca mu si ca l e n e l h u mo r y lo s ga gs e sc én ic o s d e la ó p er a có m ic a.‣
Na d al Ga rc ía , I cí ar . T h e co mi ca l mu si ca l r es o u rc es in t h e op er a G ia nni S chi cc hi , of G . P uc ci ni .‣
Ja co n o , Je an -Ma ri e. S émi o ti q u e, in te rp ré ta ti o n e t mi se e n sc èn e d e l'o p éra . Ch ai r: Ev ans , T ., SO C R 4 1 Mu si c Fi lm T ra n sme d ia‣
Mé la n , A ma n d in e. L a ch an so n d an s le s sc én ar io s et les f ilm s de Pa so lini . T ro is exem pl es : M am m a Ro m a, L a Se q u en za d el f io re d i c ar ta e P o rn o -Te o -Kol os sa l.‣
Ev ans , T ri st ia n. Expl or ing I nt er m edi al it y in Pos t-Mi n ima l F ilm Mu si c.‣
St ig a, K allio p i. Ja m ais le D im an ch e et P h ae d ra : u n re ga rd c o n te m p o ra in à la m yt h o lo gi e gre cq u e an-ti q u e p ar J u le s D as si n , M an o s H atz id ak is e t M ik is Th eo d o ra ki s. . Ch ai r: Co lo m b at i, C. , SO C R 42 Na rr at iv it y an d Mu si c‣
Co lo m b at i, Cl au d ia . H is to ri ca l a n d sy m b o lic al su b je ct in n arra ti ve a n d m u si ca l t h o u gh t o f X IX ce n tu ry.‣
Ma rt y, Ni co la s. T o wa rd s a ‘n at u ra l’ n ar ra to lo gy f o r mu si c – Sem io ti c na rr at iv iz at io n pr o ces ses .‣
Al in e G eu ze . L e vé ri sm e et la m u si q u e Ch ai r: St epi en, W ., SO C R 43 In te rm ed ia lit y‣
Pá dua , Mô n ic a P ed ro sa d e. T h e P er ce p ti o n o f A rt So ng s thr o ug h Im ag e.‣
Wi er ø d , L ea M ar ia . T h e Se m io si s o f So n g: T o-wa rd s an I n te rd is ci p lin ar y T er m in o lo gy in R h yt h m An al ys is .‣
St epi en, W o jc iec h. I m ag es o f A ur o ra Bo rea lis in Fi n n is h 2 0 th -Ce n tu ry M u si c. 18. 30 KE YN O TE : Da vi d Hu ro n ( O h io S ta te Un iv er si ty , US A ). Re lis h a n d f o re b o d in g, p ai n a n d p le as u re , d is ap p o in tm en t an d r el ie f: th e ro le o f ti m e in h ed o n ic e x p er ie n ce . SO C R 1 0 19. 30 Re ce p ti o n Au d it o ir es S O C R AT E 21. 00 Re id em ei st er M o ve : Bo rr o m ea n Ri n gs a n d A rc an u m 1 7 , SA L L E D U C O N SEI L , B Â T IM E N T ÉR A SM E , Pl . C ar di na l M er ci er .vii
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9. 45 Op en in g/ Ou ve rt u re : H er vé H as q u in , s ec ré ta ir e p er p ét u el d e l’A ca d ém ie r o ya le d e B el gi q u e 10. 15 Eer o T ar as ti : M ar cel Pr ous t et la na rr at iv it é m us ic al e 11. 15 Ma rt a Gr ab o cz : F o rme s et mo d èl es e xt ra mu si ca u x d an s le s œ u vr es c o n te mp o ra in es 12. 15 Lunc h 13. 30 Mi ch el I mb er ty : L a n ar ra ti vi té , u n c o n ce p t en tr e n eu ro sc ie n ce s et mu si q u e. 14. 30 Za ve n Pa ré: D e la dém o sc ène à la s cène. Q ua nd les r o bo ts s e fo nt m us ic iens , da ns eur s, c ha nt eur s et a ct eur s 15. 30 Br ea k 15. 45 Ca ro le E gg er a n d I sa b el le R ec k: An ge lic a Li d el l. U n t h éâ tr e gr in ça n t su r le f il d u r as o ir 17. 15 Co n ce rt : I an Cr o ss ( gu it ar r ec it al ) Ro b er t H at te n ( p ia n o r ec it al ) 18. 30 Re ce p ti o n , o ffe re d b y/ o ffe rt p ar P er -Mi ka el E n gb er g, A mb as sa d o r o f Fi n la n dviii
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9. 00 Ke yn o te : M ie cz ys ław T o m as zew ski : L a lect u re d' u n e oe uv re m us ic al e da ns l 'opt ique d' une i nt er pr ét at ion int ég ra le , SO C R 1 0 10. 00 Ch ai r: Lo ng o , R ., SO C R 40 In te rm ed ia lit y‣
Lo ng o , R af fa el e. ‘H um an’ So ur ces : a Ca se S tu d y o f Ap p lie d R es ea rc h .‣
Mo ra n d i, Na u si ca . I n te rme d ia l i ma gi n a-ti o n in m ed ie va l m u si c-lit u rg ic al d ram a.‣
Spa zi ant e, Luc io . Pl ay ing t he G am es : Lo ndo n 2012 O ly m pi c cer em o ni es br o adc as ti ng a s an int er m edi al hy br id te xt b etw ee n m u si ca l, l iv e p er fo rm an ce an d m u si c vi d eo . Ch ai r: Ma ed er , C. , SO C R 41 It alia n O p er a‣
Br er a, M at teo. N ot e sem iot ic o -st ili st ic h e su ll’ u so d el l’e n ja m b em en t n ei li b re tt i mo za rt ia n i d i L o re n zo Da P o n te‣
Suo m inen, M ar jo . H o w hi dden rhet o ri-cal s ign s n ar rat e in p er fo rm in g H an d el ´s Gi u lio C es ar e in E gi tt o ( V C ).‣
Wi jn an ts , J o h an . M u si ca l s ig n ifi ca ti o n in th e fi rs t d ec ad e o f o p er a (1 6 0 0 -1610) . Ch ai r: Re yb ro u ck , M ., SO C R 42 Mu si c an d t h e B o d y, Mu si c an d Ge st u re‣
Bes ta ni , M ar íli a. T he m us ic ia n and the ba ller ina – Mu si c as a n a xi s fo r ge st u re . VC‣
St ef ani , G ino . I nc it at o ry s ca ns io n’ : a cat h ar ti c m u si cal f igu re .‣
Bog um ila , M ik a. St ra vi n sk y’ s “m u si c o n mu si c” a s se mi o ti c ge st u re s. P ro ce d u re as s ee n f ro m a p re se n t p er sp ect ive . Ch ai r: Sc hr ei ber , E. , SO C R 10 Mu si c an d S o u n d‣
Ba tt is ti ni , Em ili ano. Bet w een noi se and si le n ce , b et w ee n m ea n in g an d n o n me an in g. A mb ie n t mu si c in t h e co n te m-po ra ry it al ian s o u n d scap e.‣
Sc hr ei ber , Ew a. T he des cr ipt io n o f So ni c Ob je ct s b y P ie rr e Sc h ae ffe r. F ro m M et-ap h o r to C o m p o si ti o n .‣
Shpi ni ts ka ya , J ul ia . T he U ni ver se o f So und: A C o m pa ra ti ve St udy o f V ibr a-ti o n S o u n d in C u ltu ra l T ra d iti o n s. Ch ai r: Pet ro v, V ., SO C R 43 Mu si c, P h ys ics , M at h em at ics‣
Pet ro v, V la di m ir . Spa ti al a nd tem po ra l ro o ts o f p ai n ti n g an d m u si c: m o d el s o f exi st enc e (Sy st em ic -in fo rm at io n al ap-pr o ac h) .‣
Si m eo no v, Em il. A bs tr ac t and C o nc ret e: Th e ro le o f m et ap h o rs , c o n n o ta ti o n s an d t rai n in g in m u si c an d ma th ema ti cs . (V C )‣
We is s, R o b er t M ic h ae l. M u si ca l C lo ck Face V al u e. G eo m et ri cal M et ap h o rs Fo r Mu si ca l P ro p er ti es . 11. 30 Br ea k 12. 00 Ch ai r: Ro sa to , P ., SO C R 40 In te rm ed ia lit y a n d o p er a‣
Ch łop ic ka , Re gi na . K ai ja S aa ri aho’ s op er a L’ A m o ur de lo in st ag ed by Pet er Sel la rs an d E sa -Pek ka Sa lo nen an at te m p t to an al ys e th e in te rm ed ial p h en o m en o n .‣
Ro sa to , P ao lo . S en se -ma ki n g in O p er a: a st ra ti fie d d ia le ct ic a m o n g lin gu ist ic , p er-ce p ti ve , an d co gn it ive p ro ce ss es . S o m e exa m pl es f ro m V er di 's w o rk s. Ch ai r: Vi ta le, A ., SO C R 41 Mu si c an d t h e B o d y, Mu si c an d Ge st u re‣
Th u m p st o n , Re b ec ca . Th e em b o d im en t of y ea rni ng : t ow ar d s a tr ip ar ti te t he or y of m us ic al a ge nc y.‣
Vi ta le , A le ss ia . Th e se m io ti cs o f ge st u re s in t h e le ar n in g o f sin gin g. Ch ai r: Br at uz . D ., SO C R 42 Mu si c an d Cr ea ti o n‣
Pet ro v, V la di m ir ; Kul ic hi n, Pet er & M a-zh u l, Li d ia. A rt agai n st t h e b ackgr o u n d o f Ze it ge is t: Tw o p ar ad o xi ca l p h en o m en a in t h e cr ea tiv it y o f ge n iu s co m p o se rs an d p ai n te rs .‣
Br at uz , D am ia na . Ba rt ók ’s I m pr ov is at ions fo r P ia n o : A M u si ca l F ro n ti er . Ch ai r: Es cl apez , C ., SO C R 43 PA N EL C LEM M De l ’e x p ér ie n ce e n mu si q u e et mu si co lo gi e. L ’e x p ér ie n ce mu si ca le , e x p ér ie n ce mu si ci en n e, e x p é-ri en ce m u si co lo gi q u e‣
Es cl apez , C hr is ti ne: La m us ic ol og ie co m m e ex p ér ie n ce d e la re n co n tr e. L’ es pa ce de jeu/ je du m us ic ol og iq ue‣
Br ét éc hé, Sy lv ai n: L’ inc ar na ti on m us ic al e co m m e p ri n ci p e ex p ér ie n ti el 13. 00 Lunc h 14. 00 Co n ce rt : Ma ry Da wo o d Pi ano and Poet ry , SO C R 1 0 15. 00 Ch ai r: Ma rt in el li, D. , SO C R 40 Mu si ca l Na rr at iv it y‣
Mo rs ki K as imi r. A sp et ti n ar ra ti vi c o me ev o luz io ne del la f o rm a-ge n er e n el p ia-ni sm o del l’O tt oc ent o.‣
Pa w łow sk a, M ał go rzat a. A S to ry o r N o t a St o ry? P as cal D u sap in 's O p er a R o m éo & Ju lie tt e (1 9 8 8 ) an d N ew W ay s o f M u-si ca l N arra ti ve s.‣
Ma rt in el li, Da ri o . A u th o rs h ip , n ar ra ti vi ty an d id eo lo gy: t h e cas e of L ennon -Mc C ar tn ey . Ch ai r: Po zz at o , M ., SO C R 41 Mu si c an d T ex t, I n te rt ex tu al it y‣
Ve sc h in sk i, Va n es sa . M u si q u e et c o n fi-denc e da ns R et o ur à M o nt ec hi ar ro de Vi n ce n t E n ge l.‣
Po zz at o , M ar ia Pi a. M us ic a s a Spa ce o f Tr an sl at io n : t h e C as e o f M ild re d P ie rc e, fr o m Ca in ’s N o ve l t o a M in is er ie s‣
Lec hus za A qua llo , A la n : T alk in g w it h t h e El der s, Spea ki ng f or O ur sel ves : Na ti ve Hi p Ho p in t h e er a o f Se lf-De te rmi n at io n Ch ai r: Ma ed er , C . , SO C R 42 Mu si c an d P o et ry‣
Go n za le s, C yn th ia I . “ P et er Q u in ce a t th e C la vi er ”: A n I n te rm edi al C o nt ext f o r Wa lla ce S te ve n s’ P o em a n d D o m in ic k Ar ge n to ’s M u si c.‣
Gr ima lt , J o an . T ra ce s o f me tr ic s an d pr o so dy in ins tr um ent al m us ic . Ch ai r: Wi lli am s, C ., SO C R 10 In st ru m en ts a n d W o rk s‣
Ma ry Da wo o d : Th e Ca rt o n s Pi a n o at t h e Na ti o n al L ib ra ry o f Fr an ce : R ed is co ve r-in g Fo rg o tt en M u sic‣
Al la Ab lo va ( U n iv er si ty o f H el si n ki ) Sem io ti cs o f the St o ne: C o nc er ni ng t he Pr o bl em s o f C hi nes e Li tho pho ne Inv es-ti ga ti o n s‣
Ch ri st o p h er W ill ia m s: Se m io si c flo w in Ar ca n u m 1 7 . Ch ai r: Es cl apez , C. , SO C R 43 PA N EL C LEM M De l ’e x p ér ie n ce e n mu si q u e et mu si co lo gi e. . .‣
Ro u ss el o t, M at h ia s: L ’in co n to u rn ab ili té du pr éj ug é. D u sens à l’ expér ienc e en mu si q u e‣
Ma n za n èq u e Ga b ri el : P er sp ec ti ve h ap-ti q u e d e l ’e xp ér ie n ce m u si ci en n e 16. 30 BRE A Kix
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17. 00 Ch ai r: Mc K ay , N. , SO C R 40 Co m p o se rs a n d t h ei r wo rk‣
Mc K ay , Ni ch o la s. S tr av in sk y’ s o p er a in a po st m o der n ag e: a n int er m edi al s em io t-ic r ea d in g.‣
So ba sk ie, J am es . A llus io n as pr em is e: tw o m él o d ie s o f F au ré . Ch ai r: Ma ri n o , G. , SO C R 41 In te rm ed ia lit y‣
Yu , G ra ce . In te rm ed ia l t ra n sf o rm at io n o f Li sz t’s So net to 104 del Pet ra rc a.‣
Ma ri n o , Ga b ri el e: « W h at k in d o f ge n re do y o u thi nk w e ar e? ». F ro m t ec hni que to ly ri cs , 'g en re d efi n er s' w ith in m u si c in te rm ed ia l e co lo gy . Ch ai r: We is se r, M ., SO C R 42 Vi su al iz in g M u si c‣
We is se r, Ma tt h ie u . I n te rmé d ia lit é et je u vi d éo : u n e ac ce n tu at io n n ar ra tiv e.‣
Pr at es , Euf ra si o . H o lo fr ac ta l T ra ns duc er of M us ic a nd I m ag e: a t ec hnol og ic al s o-lu tio n f o r tr an sla tin g b o d y ge st u re s in to re al -ti m e s yn th es iz ed s o u n d s b y m ea n s of a s em iot ic e m p ha si s on it s p h ysi ca l qua lit ies Ch ai r: Wa lk er , J ., SO C R 10 Co m p o se rs a n d t h ei r wo rk‣
Wa lk er , J u lie . C h o p in ’s la st s ty le : C o n-te xt, n ar ra ti ve ’s a n al ys is a n d s tu d y o f th e pi ani st ic int er pr et at io n.‣
Ga mr at , Ma lg o rz at a: B et we en t h e so u n d an d t h e w o rd – me th o d o lo gi ca l c h al-le ng es in the ana ly si s of Li sz t’s pi ano tr an sc ri p ti o n s o f h is o w n L ie d er Ch ai r: Es cl apez , C ., SO C R 43 CL E MM - De l ’e x p ér ie n ce e n mu si q u e et mu si co lo gi e. ..‣
De ve n ey , Gu ill au me : L e st u d io d 'e n re g-is tr em en t en t an t q u e la b o ra to ir e d u so n‣
Si eg er , Si m o n: L’ expér ienc e m us i-co lo gi q u e. I n te rs u b je ct ivi té e t u b iq u it é du m us ic o lo gue, 18. 00 KE YN O TE : Ro b er t S. H at te n ( U n iv er si ty o f Te x as , U SA) . Me lo d ic F o rc es a n d A ge n ti al E n er gy : A n I n te gr at iv e A p p ro ac h t o t h e A n al ys is a n d E x p re ss iv e In te rp re ta ti o n o f T o n al Me lo d ies . SO C R 1 0 20. 30 FER M E D U B IÉR EA U : B er na rdo R odr ig ues ( B ra zi lia n Ja zz ); R ober t M ic ha el W ei ss ( Ja zz )Un
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9 .0 0 Ch ai r: Ch u ek e, I ., SO C R 40 Mu si c, I n te rme d ia lit y, a n d P er fo rma n ce‣
Ch u ek e, Ze lia & Ch u ek e, I sa ac . Ca p tu ri n g th e mu si c: t h e th in li n e b et w ee n me d ia ti o n a n d in te rf er en ce .‣
Ei la T ar as ti : Sy m bol is m a nd int er m edi al it y: t he Fi n n is h R o sen kr eu tz M o vem en t an d it s Im p act on the A rt s in the 20t h ce nt ur y Fi nl and : m u-si c, d an ce , t h ea te r, p ai n tin g, sc u lp tu re a n d a es-th eti cs Ch ai r: Gr al l, J., SO C R 41 Mu si c an d P er fo rma n ce‣
Gr al l, Je re my . C o n te mp o ra n eo u sn es s an d P ro ce ss w it h in I m p ro vi sat io n .‣
Ma cd o n el , Gr is el l. Se mi o ti c A n al ys is of T em p or al it y in A rt M us ic P er fo r-ma n ce .‣
Na vi ck ai té -Ma rt in el li, L in a. M u sic al Per fo rm anc e as a n Int er m edi al A ffa ir . Ch ai r: Ja co vie llo , S ., SO C R 10 PA N EL Ja cov iel lo‣
Br at us . A les sa ndr o: M or e R ea l t ha n the Re al Th in g: Th e C o n st ru ct io n o f A u th en-ti ci ty in P o p u la r M u si c R ec o rd in gs a n d Au d io vi su al T ex ts‣
Ce cc h i, Al es sa n d ro : G ra m m ar o f ex p re s-si ve g est u re s in G u st av M ah le r’ s Fi rst Sy m pho ny Co rb el la , M au ri zi o : P er fo rm at iv it y Th ro u gh (o u t) M ed ia . M et h o d o lo gi ca l R e-fle cti o n s o n S o n g A n al ys is Ch ai r: M ar in a M al u li, C. , SO C R 43 Vi su al iz in g M u si c, I n te rm ed ia lit y, v is u al iz-in g t h e W o rld‣
Ma ri na M al ul i, C és ar . C ons idér at ions su r la re p ré se n ta ti o n vi su el le d e la m u-si q u e d an s l´œ uv re N ot at ions de John Ca ge .‣
Pa tna ik , Pr iy ada rs hi . Si nha , R av i: Tr an s-la tin g Sp at io -Te m p o ra l Vi su al s in to M u-si c: E xp lo ri n g h o w I n te rm ed ia lit y in flu-enc es I nt er pr et at io n and Tr an sf o r-ma ti o n (V C)‣
Ca m ar go , L u ci an o : T h e Za vo d T o p ic . 10 .3 0 Br ea k 11 .0 0 Ch ai r: Po po vi c, M ., SO C R 40 Mu si c an d P h ilo so p h y‣
Pa ps t, Jo sephi ne: O n the m et aphy si cs o f uni ver sa l ha rm ony a nd m us ic in Pl at o’ s T i-ma eu s‣
Po po vi c M la dj eno vi c, T ija na : St ruc tur e, Sens e, an d M ean in g o f D eb u ss y’ s La P u ert a d el V in o : In te rp re tin g th e Se lf th ro u gh M u sic . Ch ai r: Po la to , L. , SO C R 41 Mu si c an d Co gn it io n‣
Po la to , Leo na rdo . C an w e hea r st ru ct u re s in m u si c?‣
Wo jc ie ch o w sk i, P io tr J an . M u si c as a n exper ienc e o f ti m e. T w o a ppr o ach es to c o gn iti ve fu n cti o n s o f th e m u si ca l me mo ry . Ch ai r: He imo n en , P ., SO C R 42 Mu si c, S emi o ti cs a n d P ra gma ti cs‣
De S ta si o , L o re ta . T h e st ra te gi c d is cu rs iv e in te llig en ce in t h e ly ric o p er a as c o gn it iv e, pa them ic a nd pr ag m at ic -pr ac ti ca l m ani p u-la tio n t o t h e im p lic it s p ec ta to r.‣
He imo n en , P an u . F ro m a P ra gma ti c P o in t of V ie w : Enr ic hi ng M us ic A na ly ti ca l C o n-te n t. Ch ai r: Ja co vie llo , S ., SO C R 10 Pa nel J ac ov iel lo‣
Ga lo fa ro , F ra n ce sc o : T h e d iv er se mu si ca l c o d es in Do me n ic o Z ip o li’ s So na te d' Int av o la tur a per O rg ano (1 716) .‣
Ja co vie llo , S te fa n o : G ra m m ar , s ty le a n d la n gu ag e: a th eo re tic al fr am ew o rk f o r se m io ti cs o f m u si ca l d isc o u rse Ch ai r: Mi es zk ie lo , U. , SO C R 43 Mu si c an d F ilm‣
Mi es zk ie ło U rs zul a. W om an, L ong ing a nd My st er y. V o ca lis es in W o jc ie ch K ila r' s Fi lm Mu si c.‣
Na d al , J o sé -Ma rí a. T h e st ra n ge li tt le mu si c of t he t he re m ine or of t he m us ic al s aw in I Vi te llo n i: fo rm s (o f th e ex p re ss io n a n d o f th e c o n te n t) a n d fu n cti o n s ( d is cu rs iv e st ra te gi es) 12. 00 Co n ce rt : Mô n ic a P ed ro sa – so p ran o , Fe rn an d o A raú jo – cl as si cal gu it ar Br a z il ia n A r t S o n g 13. 00 Lu n c h 14. 00 KE YN O TE : L u Zh en gl an ( Si ch u an U n iv er si ty , C h in a) . Tr an ss em io ti c P ar ad o x i n F ilm M u si c: Re d M u si c in C h in es e Fi lm s o n t h e C u lt u ra l Re vo lu ti o n . SO C R 1 0x
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15. 00 Ch ai r: Oj al a, J ., SO C R 40 Pei rc ea n Sem iot ic s‣
Ba rbi er i, A ld o . I n te rp re ta tiv e C o rr id o r – I n-te rp re ta n ts g en er ati o n in m u si c.‣
Es pi ndol a Ber na rdo R odr ig ues . I nt er m edi a se m io si s: b et w ee n ly ri cs an d m u si c.‣
Oj al a, J u h a. C o rr el at io n s o f an a b d u ct iv e th eo ry o f m u si ca l s ig n ifi ca ti o n a n d a s el ec ti o n of e m p ir ic al f ind ing s in c o gn it iv e p ro ce ssi n g in mu si c. Ch ai r: Pez zi ni , I ., SO C R 41 Li ter at ur e and O per a‣
Pez zi ni , I sa bel la . La li tt ér at ur e à l'O p é-ra : e n tre F la u b ert e t B art h es.‣
De l Ma rc o , V in ce n za : R it m i f ra m u sic a e co rpo . Si nc ret is m i e si nc ro ni sm i‣
Ca rl u cc i, St ef an o . Co n vi ve n ze d iff ic ili e ing eg no se so luz io ni . Ch ai r: Cl ift o n , K ., SO C R 42 Mu si c an d F ilm‣
El lis , Sa ra h and Lee, M ic ha el : C hopi n as in te rm ed ia l s ig n ifie r in 1 9 3 0 s an d 1 9 4 0 s hor ror F ilm s‣
Ne lle st ijn , Ma ar te n . T h e De at h o f K lin g-hof fer : F rom St ag e to Sc reen.‣
Cl ifto n , K ev in . S o u n d a n d S em io ti cs in Hi tc h co ck ’s C o mi n g A tt ra ct io n : L o ca ti n g an d U n rave lin g M ean in g in R o p e’ s M o vi e Tr ai le r. Ch ai r: Ze n ki n , K ., SO C R 43 Mu si c A n al ys is‣
He lln er , J ea n Ma ri e, R o b er t Sc h u ma n n 's Dr ei R o ma n ze n , o p . 2 8 : A n E n tw ic k-lu n gs ro m an .‣
Knoc ka ert , Y ve s. W o lfg an g R ih m – Th e Me an in g o f R ep et it io n .‣
Ze n ki n , K o n st an ti n . Co m p o si ti o n Te ch n iq u e am o n g th e Se m io ti c Sy s-te m s o f a P ie ce o f M u si c. 16. 30 Br ea k 16. 45 Ke yn o te : L aw re n ce Zb ik o w sk i (U n iv er si ty o f C h ic ag o , U SA) . Mu si ca l se mi o ti cs a n d a n al o gi ca l re fe re n ce : so n ic an al o gs fo r d yn am ic p ro ce sse s. SO C R 1 0 17. 45 18. 00 Wa lk o ve r to t h e H al le s U n iv er si ta ir es WA L K IN G D IN N E R – HA L L E S UNI V E R SI T A IR E S 20. 15 Pa ol o R os at o and W al ter Z ida ri c, exc er pt s fr om t hei r oper a La rs C leen , w it h t h e p ar tic ip at io n o f m as te r s tu d en ts o f t h e C o n se rv at o rio d i F er m o , It aly Fr ee Pr og ra m SO C R 1 0xi
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9. 00 Ch ai r: Fu jak, J ., SO C R 40 Mu si c, I n te rme d ia lit y an d E x p eri en ce‣
Fu jak, J ú liu s. S lo vak E xp er im en tal M u si c-In te rm ed ia a rt s fr o m se m io ti c p ersp ec ti ve (I n T h eo re ti ca l R an ge f ro m P et er Fa lt in to J o ze f C se re s) .‣
Ma le ck a, T er es a. Bor is G odu n ov . F ro m P u sh kin 's T ra ge d y to Mu ss o rg sk y’ s Mu si c Dr ama . T ra n sl at io n Tr an sm ed ia liz at io n .‣
Dr au s, A gn ie sz ka . P aw eł M yk ie ty n a n d in te rm ed ia lity . P e r-ce ivi n g th e m u si c o f th e au th o r o f T w o P o em s b y M iłos z fr o m th e p er sp ec ti ve o f D ic k H ig gi n s' s th eo ry a n d o th ers. Ch ai r: Ca st ro M o n te ir o , SO C R 41 Cu lt u ra l se m io ti cs‣
Pi nt o , R ui M ag no : T h e P o rt u gu es e sy m p h o n ic po em ( 1884 -1909)‣
Ca st ro M o n te ir o , R ic ar d o N o gu ei ra . A Se m io ti c ap p ro ach t o N at ive -Br az ili an m us ic : c ha lleng es an d p o ss ib le co n tr ib u ti o n s.‣
de A ra új o D ua rt e V al ent e, H el o ís a. “ una m us ic a do lc e suo na va ... ” M em o ry a n d N o m ad ism in t he It alia n -B ra zi lia n so n g. Ch ai r: Re yb ro u ck , SO C R 42 Mu si c an d Me an in g‣
Ts ig ka , C h ri st in a & K o kk id o u , M ay . I n s ea rc h o f mu si ca l me an in g: li te ra tu re r ev ie w a n d r es ea rc h fin d in gs .‣
Ch ag as , P au lo C. W it tg en st ei n a n d m u si ca l u n-der st andi ng : s el f-re fe re n ce a n d f o rm s o f lif e. Ch ai r: Ta ra st i, E ., SO C R 43Mu
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Zu b o va s, Ro ka s: To w ar d m u si cal ab st ract io n . M . K. C iur lioni s and tr ans for m at ions of m us ic al na rr a-ti ve in e ar ly X X th C en tu ry .‣
Br unéz gi e, Ru ta : M u si ca lity o f L ite ra tu re : E xp re s-si o n o f T o p ic s in th e A tti tu d e o f E xi ste n ti al S em i-ot ic s‣
Le C o llet er , T ho m as . Pi er re Jea n Jo uv e/ A lba n Ber g : é lé m en ts p o u r u n e p o ét iq u e m u sic ale . 10. 30 Br ea k 10. 45 Ro u n d ta b le , ch ai re d b y D ar io M ar ti n el li, C lo si n g W o rd s b y th e o rg an iz er s an d E er o Ta ra st i SO C R 1 0 12. 00 Ke yn o te : Fl o re n ce G ét re au ; Mu si c an d Pa int ing : W at te au ’s G ra p h ic L an gage . SO C R 1 0 13. 00 Tr an sp o rt t o Br u ss el s an d l u n ch . 14. 30 SO C IA L PR O G R A M : B ru ss el s an d B o za r. : gui ded to u r “W at tea u - Th e M u si c L es so n ”xii
TABLE OF CONTENTS
Mark Reybrouck and Costantino Maeder : PREFACE ... III
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TABLE OF CONTENTS ... XII!
Alla Ablova: SEMIOTICS OF THE STONE: CONCERNING THE PROBLEMS OF CHINESE LITHOPHONE INVESTIGATIONS ... 3
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Alan Lechusza Aquallo: TALKING WITH THE ELDERS, SPEAKING FOR OURSELVES: NATIVE HIP HOP IN THE ERA OF SELF-DETERMINATION ... 5
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Aldo Barbieri INTERPRETATIVE CORRIDOR INTERPRETANTS GENERATION IN MUSIC ... 6
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Emiliano Battistini: BETWEEN NOISE AND SILENCE, BETWEEN MEANING AND NON MEANING. AMBIENT MUSIC IN THE CONTEMPORARY ITALIAN SOUNDSCAPE ... 8
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Marília Bestani: THE MUSICIAN AND THE BALLERINA – MUSIC AS AN AXIS FOR GESTURE ... 16
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Mika Bogumila: STRAVINSKY’S “MUSIC ON MUSIC” AS SEMIOTIC GESTURES. PROCEDURE AS SEEN FROM A PRESENT PERSPECTIVE. ... 17
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Alessandro Bratus: MORE REAL THAN THE REAL THING: THE CONSTRUCTION OF AUTHENTICITY IN POPULAR MUSIC RECORDINGS AND AUDIOVISUAL TEXTS ... 19
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Damjana Bratuz: BARTÓK’S IMPROVISATIONS FOR PIANO: A MUSICAL FRONTIER ... 24
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Matteo Brera: NOTE SEMIOTICO-STILISTICHE SULL’USO DELL’ENJAMBEMENT NEI LIBRETTI MOZARTIANI DI LORENZO DA PONTE ... 25
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Brétéché, Sylvain: L’INCARNATION MUSICALE COMME PRINCIPE EXPERIENTIEL ... 26
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Rūta Brūzgienė: MUSICALITY OF LITERATURE: EXPRESSION OF TOPICS IN THE ATTITUDE OF EXISTENTIAL SEMIOTICS 32
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Luciano de Freitas Camargo: THE ZAVOD TOPIC ... 33!
Irma Susana Carbajal Vaca: RESEARCHING MUSICAL MEANING: ENTERING THE FIELD OF MUSICAL SEMIOTICS ... 44
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Stefano Carlucci: CONVIVENZE DIFFICILI E INGEGNOSE SOLUZIONI. DIFFICULT COHABITATIONS AND INGENIOUS SOLUTIONS ... 51
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Ricardo Nogueira de Castro Monteiro: A SEMIOTIC APPROACH TO NATIVE-BRAZILIAN MUSIC: CHALLENGES AND POSSIBLE CONTRIBUTIONS ... 53
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Alessandro Cecchi: GRAMMAR OF EXPRESSIVE GESTURES IN GUSTAV MAHLER’S FIRST SYMPHONY ... 54
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Paulo C. Chagas: WITTGENSTEIN AND MUSICAL UNDERSTANDING: SELF-REFERENCE AND FORMS OF LIFE ... 57
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Regina Chłopicka: KAIJA SAARIAHO’S OPERA L’AMOUR DE LOIN STAGED BY PETER SELLARS AND ESA-PEKKA Z SALONEN - AN ATTEMPT TO ANALYSE THE INTERMEDIAL PHENOMENON ... 64
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Zelia and Isaac Chueke: CAPTURING THE MUSIC: THE THIN LINE BETWEEN MEDIATION AND INTERFERENCE. ... 66
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Kevin Clifton: SOUND AND SEMIOTICS IN HITCHCOCK’S COMING ATTRACTION: LOCATING AND UNRAVELING MEANING IN ROPE’S MOVIE TRAILER ... 68
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Claudia Colombati: THE HISTORICAL AND SYMBOLICAL TOPIC IN THE NARRATIVE AND MUSICAL THOUGHT OF XIX CENTURY ... 70
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Maurizio Corbella: PERFORMATIVITY THROUGH(OUT) MEDIA. METHODOLOGICAL REFLECTIONS ON SONG ANALYSIS . 72
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Ian Cross: MUSIC, SPEECH AND MEANING IN INTERACTION ... 74!
Andrew Davis: OBSESSED WITH THE IMPOSSIBLE: MUSIC AS INTERMEDIARY IN THE VARIATIONS MOVEMENT OF BRAHMS'S PIANO SONATA IN C MAJOR, OP.1 ... 78
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Mary Dawood: THE CARTONS PIANO AT THE NATIONAL LIBRARY OF FRANCE: REDISCOVERING FORGOTTEN MUSIC ... 88
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Paulo F. De Castro: LA MUSIQUE AU SECOND DEGRÉ: ON GÉRARD GENETTE’S THEORY OF TRANSTEXTUALITY AND ITS MUSICAL RELEVANCE ... 90
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Vincenza del Marco: RITMI FRA MUSICA E CORPO. SINCRETISMI E SINCRONISMI ... 92
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Guillaume Deveney: LE STUDIO D’ENREGISTREMENT COMME LABORATOIRE DU SON ... 94
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Carole Egger and Isabelle Reck: ANGELICA LIDDELL : UN THEATRE SUR LE FIL GRINÇANT DU RASOIR ... 96
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Sarah Ellis and Michael Lee: CHOPIN AS INTERMEDIAL SIGNIFIER IN 1930S AND 1940S HORROR FILMS ... 97
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Christine Esclapez: L’EXPERIENCE DU MUSICOLOGIQUE COMME RENCONTRE ESPACE DE JEU/JE ... 98
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Bernardo Rodrigues Espindola: INTERMEDIA SEMIOSIS: BETWEEN LYRICS AND MUSIC ... 105
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Tristian Evans: EXPLORING INTERMEDIALITY IN POST-MINIMAL FILM MUSIC ... 110
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Carmen Fernández Amat: SEMIÓTICA MUSICAL EN EL HUMOR Y LOS GAGS ESCÉNICOS DE LA ÓPERA CÓMICA ... 111
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Július Fujat: SLOVAK EXPERIMENTAL MUSIC-INTERMEDIA ARTS FROM SEMIOTIC PERSPECTIVE (IN THEORETICAL RANGE FROM PETER FALTIN TO JOZEF CSERES) ... 112
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Marino Gabriele: “WHAT KIND OF GENRE DO YOU THINK WE ARE?”. FROM TECHNIQUE TO LYRICS, ‘GENRE DEFINERS’ WITHIN MUSIC INTERMEDIAL ECOLOGY ... 113
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Francesco Galofaro: THE DIVERSE MUSICAL CODES IN DOMENICO ZIPOLI’S SONATE D'INTAVOLATURA PER ORGANO (1716). ... 117
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Malgorzata Gamrat: BETWEEN THE SOUND AND THE WORD – METHODOLOGICAL CHALLENGES IN THE ANALYSIS OF LISZT’S PIANO TRANSCRIPTIONS OF HIS OWN LIEDER ... 118
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Christophe Georis: MUSIC AND MYSTIC POETRY: SEMIOTIC INTERACTIONS ... 122
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Aline Geuze: UNE TRIPLE DIFFÉRENCIATION ENTRE LE CANTO NEL CANTO ET LE PARLAR CANTANDO DANS L’OPÉRA VÉRISTE ZAZÀ DE RUGGERO LEONCAVALLO ... 123
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Cynthia I. Gonzales: “PETER QUINCE AT THE CLAVIER”: AN INTERMEDIAL CONTEXT FOR WALLACE STEVENS’ POEM AND DOMINICK ARGENTO’S MUSIC ... 128
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Marta Grabócz: « FORMES ET MODELES EXTRAMUSICAUX DANS LES ŒUVRES CONTEMPORAINES » ... 130
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Jeremy N. Grall: CONTEMPORANEOUSNESS AND PROCESS WITHIN IMPROVISATION ... 133
!
Florence Gétreau: MUSIC AND PAINTING : WATTEAU’S GRAPHIC LANGAGE ... 135
!
xiii
Robert S. Hatten: MELODIC FORCES AND AGENTIAL ENERGY: AN INTEGRATIVE APPROACH TO THE ANALYSIS AND
EXPRESSIVE INTERPRETATION OF TONAL MELODIES ... 144
!
Panu Heimonen: FROM A CONVERSATIONAL POINT OF VIEW: ENHANCING MUSIC ANALYTIC MEANING ... 151
!
André Helbo: SPECTACULAR MEDIATIONS AND MUSICAL MEDIATIONS: SEMIOTIC STAKES ... 159
!
Jean Marie Hellner: ROBERT SCHUMANN'S DREI ROMANZEN, OP. 28: AN ENTWICKLUNGSROMAN ... 162
!
Drina Hočevar THE MUSICAL FUGUE IN LITERARY PROSE: FROM THOMAS DE QUINCEY´S CHURCH ORGAN TO THOMAS PYNCHON´S ELECTRIC GUITARS ... 164
!
Simon Horsten: TWO VERSIONS OF ‘THREE TRAPPED TIGERS’ BY GUILLERMO CABRERA INFANTE ... 166
!
David Huron: THE OTHER SEMIOTIC LEGACY OF CHARLES SANDERS PEIRCE: ETHOLOGY AND MUSIC-RELATED EMOTION ... 167
!
Michel Imberty: NARRATIVITY, A CONCEPT LYING BETWEEN NEUROSCIENCE AND MUSIC ... 180
!
Jean-Marie Jacono: SÉMIOTIQUE, INTERPRÉTATION ET MISE EN SCÈNE DE L'OPÉRA ... 186
!
Stefano Jacoviello: GRAMMAR, STYLE AND LANGUAGE: A THEORETICAL FRAMEWORK FOR SEMIOTICS OF MUSICAL DISCOURSE ... 187
!
Inga Jankauskiene: EXISTENTIAL SEMIOTICS IN ANALYSIS OF OPERA ... 188
!
Justyna Humięcka-Jakubowska: COMPUTATIONAL MUSIC INFORMATION RETRIEVAL AND THE MUSICAL REPRESENTATIONS OF SOME IDEAS OF THE DARMSTADT SCHOOL COMPOSERS ... 190
!
Yves Knockaert: WOLFGANG RIHM – THE MEANING OF REPETITION ... 192
!
Thomas Le Colleter: PIERRE JEAN JOUVE, ALBAN BERG ET WOZZECK, OU COMMENT TRADUIRE UNE ECOUTE ... 198
!
Jamie A. Liddle: THE SUBLIME AS A TOPIC IN BEETHOVEN’S LATE PIANO SONATAS ... 205
!
Raffaele Longo: ‘HUMAN’ SOURCES: A CASE STUDY OF APPLIED RESEARCH ... 209
!
Grisell Macdonel: ANALYSIS OF TEMPORALITY IN ART MUSIC PERFORMANCE ... 212
!
Teresa Malecka: BORIS GODUNOV. FROM PUSHKIN'S TRAGEDY TO MUSSORGSKY’S MUSIC DRAMA. TRANSLATION – TRANSMEDIALIZATION ... 213
!
Marina Maluli César: CONSIDÉRATIONS SUR LA REPRÉSENTATION VISUELLE DE LA MUSIQUE DANS L'OEUVRE NOTATIONS DE JOHN CAGE ... 216
!
Gabriel Manzaneque: PERSPECTIVE HAPTIQUE DE L’EXPERIENCE MUSICIENNE. ... 222
!
Dario Martinelli: AUTHORSHIP, NARRATIVITY AND IDEOLOGY: THE CASE OF LENNON-MCCARTNEY ... 229
!
Nicolas Marty: SEMIOTIC NARRATIVIZATION PROCESSES ... 230
!
Nicholas McKay: STRAVINSKY’S OPERA IN A POSTMODERN AGE: AN INTERMEDIAL SEMIOTIC READING ... 239
!
Urszula Mieszkieło: WOMAN, LONGING AND MYSTERY. VOCALISES IN WOJCIECH KILAR'S FILM MUSIC ... 247
!
Amandine Mélan: LA CHANSON DANS LES SCÉNARIOS ET LES FILMS DE PASOLINI. TROIS EXEMPLES : MAMMA ROMA, LA SEQUENZA DEL FIORE DI CARTA ET PORNO-TEO-KOLOSSAL ... 248
!
Mausica Morandi: INTERMEDIAL IMAGINATION IN MEDIEVAL MUSIC-LITURGICAL DRAMA ... 249
!
Kasimir Morski: ASPETTI NARRATIVI COME EVOLUZIONE DELLA FORMA-GENERE NEL PIANISMO DELL’OTTOCENTO . 254
!
Icíar Nadal García: LOS RECURSOS CÓMICOS MUSICALES EN LA ÓPERA GIANNI SCHICCHI, DE G. PUCCINI ... 256!
Daniel Nagy: MYTH CREATION AND INTERTEXTUALITY AFTER WAGNER – THE RING CYCLE AND THOMAS MANN’S JOSEPH AND HIS BROTHERS ... 263
!
Lina Navickaitė-Martinelli: MUSICAL PERFORMANCE AS AN INTERMEDIAL AFFAIR ... 270
!
Maarten Nellestijn: THE DEATH OF KLINGHOFFER: FROM STAGE TO SCREEN ... 271J
!
Juha Ojala: CORRELATIONS OF AN ABDUCTIVE THEORY OF MUSICAL SIGNIFICATION AND A SELECTION OF EMPIRICAL FINDINGS IN COGNITIVE PROCESSING IN MUSIC ... 272!
Josephine Papst: ON THE METAPHYSICS OF UNIVERSAL HARMONY AND MUSIC IN PLATO’S TIMAEUS ... 273
!
Zaven Paré: FROM DEMOSCENE TO SCENE STAGING OF ROBOTS AS MUSICIANS, DANCERS, SINGERS AND ACTORS ... 274
!
Sinha Ravi: TRANSLATING SPATIO-TEMPORAL VISUALS INTO MUSIC: EXPLORING HOW INTERMEDIALITY INFLUENCES INTERPRETATION AND TRANSLATION ... 275
!
Małgorzata Pawłowska: A STORY OR NOT A STORY? PASCAL DUSAPIN’S OPERA ROMÉO & JULIETTE (1988) AND NEW WAYS OF MUSICAL NARRATIVES ... 282
!
Mônica Pedrosa De Pádua: THE PERCEPTION OF ART SONGS THROUGH IMAGE: A SEMIOTIC APPROACH ... 292
!
Vladimir M. Petrov: SPATIAL AND TEMPORAL ROOTS OF PAINTING AND MUSIC: MODELS OF EXISTENCE (SYSTEMIC-INFORMATION APPROACH) ... 298
!
Vladimir M. Petrov, Peter A. Kulickhin, and Lidia A. Mazhul: ART AGAINST THE BACKGROUND OF ZEITGEIST: ... 306
!
Isabella Pezzini: ENTRE FLAUBERT ET BARTHES: LA LITTÉRATURE À L’OPÉRA ... 307
!
Rui Magno Pinto: THE PORTUGUESE SYMPHONIC POEM (1884-1909) ... 308
!
Piotr Podlipniak: TONALITY AS ONE OF THE ‘MUSIC-SPECIFIC’ ADAPTATIONS ... 310
!
Marta Polańska ALFRED GRADSTEIN’S HOMMAGE A CHOPIN IN THE CONTEXT OF GREAT PIANO ETUDES: MASTERPIECES BY CHOPIN, SCRIABIN, DEBUSSY AND OTHERS ... 316
!
Leonardo Polato: CAN WE HEAR STRUCTURES IN MUSIC? ... 317
!
Tijana Popović Mladjenović: STRUCTURE, SENSE, AND MEANING OF DEBUSSY`S LA PUERTA DEL VINO: INTERPRETING THE SELF THROUGH MUSIC ... 322
!
Maria Pia Pozzato: THREE TIMES MILDRED PIERCE. THE ROLE OF THE MUSIC IN THE TV SERIES AND IN THE FILM BASED ON THE MICHAEL CAIN’S NOVEL ... 331
!
Eufrasio Prates: HOLOFRACTAL TRANSDUCER OF MUSIC AND IMAGE: A TECHNOLOGICAL SOLUTION FOR TRANSLATING BODY GESTURES INTO REAL-TIME SYNTHESIZED SOUNDS BY MEANS OF A SEMIOTIC EMPHASIS ON ITS PHYSICAL QUALITIES ... 333
!
Mark Reybrouck: MUSIC - ANALYSIS - EXPERIENCE: CONVERGING OR DIVERGING PARADIGMS? ... 334
!
Alma Rodriguez: NARRATE TO SIGNIFY: CONCEPTUALIZATION IN MUSICAL INTERPRETATION. ... 340
!
Paolo Rosato: SENSE-MAKING IN OPERA: A STRATIFIED DIALECTIC AMONG LINGUISTIC, PERCEPTIVE, AND COGNITIVE PROCESSES. SOME EXAMPLES FROM VERDI'S WORKS ... 341
!
Mathias Rousselot: L’INCONTOURNABILITE DU PRÉJUGÉ : DU SENS A L’EXPERIENCE EN MUSIQUE. ... 342
!
Ewa Schreiber: THE DESCRIPTION OF SONIC OBJECTS BY PIERRE SCHAEFFER. FROM METAPHOR TO COMPOSITION. .... 348
!
Julia Shpinitskaya: THE UNIVERSE OF SOUND: A COMPARATIVE STUDY OF VIBRATION SOUND IN CULTURAL TRADITIONS ... 350
!
xiv
Emil Simeonov: ABSTRACT AND CONCRETE: THE ROLE OF METAPHORS, CONNOTATIONS AND TRAINING IN MUSIC AND MATHEMATICS ... 353
!
James William Sobaskie: ALLUSION AS PREMISE: TWO MÉLODIES OF FAURÉ ... 354!
Lucio Spaziante: PLAYING THE GAMES: LONDON 2012 OLYMPIC CEREMONIES BROADCASTING AS AN INTERMEDIAL HYBRID TEXT BETWEEN MUSICAL, LIVE PERFORMANCE AND MUSIC VIDEO. ... 356!
Gino Stefani e Stefania Guerra Lisi: A CATHARTIC RHYTHM ... 357!
Wojciech Stępień; IMAGES OF AURORA BOREALIS IN 20TH-CENTURY FINNISH MUSIC ... 360!
Kalliopi Stiga: « JAMAIS LE DIMANCHE ET PHAEDRA : UN REGARD CONTEMPORAIN SUR LA MYTHOLOGIE GRECQUE ANTIQUE PAR JULES DASSIN, MANOS HATZIDAKIS ET MIKIS THEODORAKIS. » ... 362
!
Marjo Suominen: HOW HIDDEN RHETORICAL SIGNS NARRATE IN PERFORMING HANDEL`S GIULIO CESARE IN EGITTO 364!
Eero Tarasti: MARCEL PROUST ET LA NARRATIVITE MUSICALE ... 371!
Eila Tarasti: SYMBOLISM AND INTERMEDIALITY: THE FINNISH ROSENKREUTZ MOVEMENT AND ITS IMPACT ON THE ARTS IN THE 20TH CENTURY FINLAND: MUSIC, DANCE, THEATER, PAINTING, SCULPTURE AND AESTHETICS ... 374!
Rebecca M. Thumpston: THE EMBODIMENT OF YEARNING: TOWARDS A TRIPARTITE THEORY OF MUSICAL AGENCY ... 376
!
Mieczysław Tomaszewski: READING A WORK OF MUSIC FROM THE PERSPECTIVE OF INTEGRAL INTERPRETATION ... 388!
May Kokkidou and Christina Tsigka: IN SEARCH OF MUSICAL MEANING: LITERATURE REVIEW AND RESEARCH FINDINGS ... 398!
Heloísa de a. Duarte valente: “UNA MUSICA DOLCE SUONAVA...” MEMORY AND NOMADISM IN THE ITALIAN-BRAZILIAN SONG ... 407!
Vanessa Veschinski: MUSIQUE ET CONFIDENCE DANS RETOUR À MONTECHIARRO DE VINCENT ENGEL ... 409!
Martín Virgili: SIGN, MUSIC AND GENRE: POETICS OF WITHDRAWAL IN THE WORKS OF HILDEGARD VON BINGEN (1098-1179) ... 410!
Alessia R. Vitale: THE SEMIOTICS OF GESTURES IN THE LEARNING OF SINGING ... 412!
Julie Walker: CHOPIN’S LAST STYLE: CONTEXT, NARRATIVE’S ANALYSIS AND STUDY OF THE PIANISTIC INTERPRETATION ... 418!
Robert M. Weiß: MUSICAL CLOCK FACE VALUE GEOMETRICAL METAPHORS FOR MUSICAL PROPERTIES ... 432!
Mathieu Weisser: NARRATIVITY AND INTERMEDIALITY IN VIDEO GAMES ... 439!
Lea Maria Lucas Wierød: THE SEMIOSIS OF SONG: TOWARDS AN INTERDISCIPLINARY TERMINOLOGY IN RHYTHM ANALYSIS ... 441!
Johan Wijnants: MUSICAL SIGNIICATION IN THE FIRST DECADE OF OPERA (1600-1610) ... 442!
Christopher Williams: SEMIOSIC FLOW IN ARCANUM 17 ... 447!
Piotr Jan Wojciechowski: “MUSIC AS EXPERIENCE OF TIME. TWO APPROACHES TO COGNITIVE FUNCTIONS OF THE MUSICAL MEMORY” ... 449!
Grace Yu: INTERMEDIAL TRANSFORMATION OF LISZT’S SONETTO 104 DEL PETRARCA ... 450!
Lawrence Zbikowski: MUSICAL SEMIOTICS AND ANALOGICAL REFERENCE: SONIC ANALOGS FOR DYNAMIC PROCESSES ... 452!
Konstantin Zenkin: COMPOSITION TECHNIQUE AMONG THE SEMIOTIC SYSTEMS OF A PIECE OF MUSIC ... 460!
Zhenglan Lu: TRANSSEMIOSIC PARADOX IN FILM MUSIC: RED MUSIC IN CHINESE FILMS ON THE CULTURAL REVOLUTION ... 465!
Rokas Zubovas: TOWARD MUSICAL ABSTRACTION. M. K. ČIURLIONIS AND TRANSFORMATIONS OF MUSICAL NARRATIVE IN EARLY XXTH CENTURY. ... 471!
Costantino Maeder: POSTFACE…………..………472M.Reybrouck, C.Maeder, A.Helbo, E.Tarasti (Editors). E-proceedings of the XII
thInternational Congress of Musical
Signification (Université catholique de Louvain and Académie Royale de Belgique), April 2-6, 2013). Music, Semiotics,
Intermediality: Abstracts and extended abstracts. Louvain-la-Neuve 2013. ISBN: 978-90-9027424-9
113
“WHAT KIND OF GENRE DO YOU THINK WE ARE?”. FROM
TECHNIQUE TO LYRICS, ‘GENRE DEFINERS’ WITHIN MUSIC
INTERMEDIAL ECOLOGY
Marino Gabriele
Communication PhD student, University of Torino (Italy)
gaber.en@libero.it
Focused on popular music (Fabbri ed. 1985 and 2002, Middleton 1990, Tagg 1994)
53, endorsing a sociosemiotic
framework (Landowski in Greimas & Courtés eds. 1986: 332, Marrone 2001, Spaziante 2007, Ferraro 2013)
54, with key
references to the semiotics of culture (i.e. the conception of music as a macro-generic semiosphere, cf. Lotman 1985)
55, and
set within a wider in progress-study
56on the technologies, ideologies and rhetorics of “the new” in music (cf. Dalmonte &
Spampinato eds. 2009, Reynolds 2011), the present contribution deals with the problematic and still not much investigated
(cf. Fabbri 1982, Hamm 1994, Moore 2001, Marx 2008)
57issue of musical genre.
By discussing its definitions
58(a set of multi-dimensional rules, as in Fabbri 1982 and 2002, symbolic codes, as in Holt
2003, attributes, as in Lena 2012; a marketing category, as in Negus 1999, Brackett 2002, Holt 2007), its relation with the
other umbrella term “style” (Hebdige 1979, Moore 2001, Pascall 2001, Shuker 2005: 259-262, Fabbri 1999), its second
grade forms (sub-genres, meta-genres
59), its mechanisms of formation (which might be called condensation and emersion,
cf. Holt 2003 and Lena 2012) and labelling (“genrefication”, as in Carson and Zimmer 2012a & 2012b), its close tie with the
notions of imaginary (cf. Leone ed. 2011), architextuality (cf. Genette 1982) and generic contract (Kallberg 1988; the
notion of “ideal listener” will be here introduced
60), an “atomic definition” of musical genre will be proposed.
By discussing meta-typologies, i.e. classifications of genres (by their names
61) and visual representations of genres relations
(synchronic or diachronic; by affinity
62or genealogy; graphical, logical
63, topographical
64and geographical; cf. the classic
Taylor 2000), the identification of the possible basic values underlying them will be attempted.
Both new formations (within electronic dance and indie music, from Carson & Zimmer 2012a and 2012b)
65and
sedimented genres
66(chosen as the set of genre-tags to be used in the Italian music criticism website Sentireascoltare.com)
will be analyzed as case studies.
53
I have already addressed and succinctly resumed this topic in Marino 2011: 29-32. Popular music is here intended as the “ubiquitous music” (Quiñores, Kassabian & Boschi eds. forthcoming) and, subsequently, “the midfield of music studies and musicology […], from which to start […] trails potentially leading everywhere” (Sorce Keller 2012c). The implicit but basic assumption is that, since the invention of phonography (Eisenberg 1997), all kinds of music (i.e. also art music, folk and jazz) have been configured (Landow 1992) and re-mediated (Bolter & Grusin 1999), i.e. put in the technological (electric first, electronic and digital then) and socio-cultural (circulation through media, mass media and new media) set of what we can call recording and reproducing practices (cf. Berio 1956 and 1976, Fiori in Fabbri ed. 1985: 92-103, Dusi & Spaziante eds. 2006).
54
Sociosemiotics is here intended as a pragmatic and phenomenological approach to music, regarded as a set of “signs within the heart of social life” (Saussure 1967: 26), wherein texts and practices are put on the same level of constructed signification.
55
Cf. the clouds simile depicted in Xenakis 1979 (and quoted in Fabbri 2005).
56
I.e. my PhD thesis project.
57
Not much investigated apart from a non-theoretical, genre-by-genre and intra-generic, historical treatment; cf. Charlton 1994, Borthwick & Moy 2004, Fabbri 2008.
58
Apart from the very following references in the text, cf. also Frye 1957, Fabbri ed. 1989, Kallberg 1988 (especially for Dahlhaus’ position), Chandler 1997, Toynbee 2000, Samson 2001, Shuker 2001, Sorce Keller 2012a.
59
Cf. Shuker 2005: 120-123.
60
Modeled on Umberto Eco’s “ideal reader”, with particular attention to the notions of “competence” (Stèfani 1982) and “expectations” (cf. Barbieri 2004).
61
I.e. those elements (or even: that unique element) which have been considered so relevant, amongst the others, to become defining (or at least: describing and identifying), capable to synthesize the identity of that particular music. Cf. Borges’ parodist genres typology quoted in Hamm 1994 and Dawes 2006.
62
E.g. based on Wikipedia interrelated lexemes, on Last.fm listeners’ choices and “journeys”, on computer sound analyses (e.g. the pioneering and controversial Cope 1991).
63
E.g. flowcharts.
64
M.Reybrouck, C.Maeder, A.Helbo, E.Tarasti (Editors). E-proceedings of the XII
thInternational Congress of Musical
Signification (Université catholique de Louvain and Académie Royale de Belgique), April 2-6, 2013). Music, Semiotics,
Intermediality: Abstracts and extended abstracts. Louvain-la-Neuve 2013. ISBN: 978-90-9027424-9
114
Genres can be defined as intermedial (cf. Higgins 1966, Wolf 2002, Crapoulet 2008)
67entities in regard to the very diverse
elements (real and possible
68, material and immaterial, musical and extra-musical
69; the notion of “musification”
70will be
here introduced) involved into their definition. The process of giving music a name, a necessary practise which is actually
impossible to get out of
71, implies a specific meta-knowledge and it is a precious key to understand how communities
understand and appropriate music, what they consider meaningful in it.
REFERENCES
Barbieri, D. (2004). Nel corso del testo. Una teoria della tensione e del ritmo. Milano: Bompiani. Beres, D. (2005). Global Beat Fusion. The History of the Future of Music. Lincoln, NE: iUniverse. Berio, L. (1956). Prospettive nella musica, Elettronica n. 3, p. 108.
Berio, L. (1976). Prefazione. In: H.Pousseur (Ed.). La musica elettronica. Milano: Feltrinelli. Bolter, J.D. & Grusin, R. (1999). Remediation. Understanding New Media. Cambridge: MIT Press.
Borthwick, S. & Moy, R. (2004). Popular Music Genres: an Introduction. Edinburgh: Edinburgh University Press.
Brackett, D. (2002). (In search of) musical meaning: genres, categories and crossover. In D.Hesmondhalgh & K. Negus (Eds.). Popular Music Studies (pp. 65-83). London: Arnold.
Carson, C.E. & Zimmer, B. (2012a). Among the New Words. American Speech, Vol. 87, No. 2 (Summer), pp. 190-207. Online <http://www.academia.edu/1231419/_Among_the_New_Words_American_Speech_Vol._87_No._2_Summer_2012_pp._190-207_>
Carson, C.E. & Zimmer, B. (2012b). Among the New Words. American Speech, Vol. 87, No. 3 (Fall), pp. 350-368. Online <http://www.academia.edu/2341158/_Among_the_New_Words_American_Speech_Vol._87_No._3_Fall_2012_pp._350-368_> Chandler, D. (1997). An Introduction to Genre Theory. Online <http://www.aber.ac.uk/media/Documents/intgenre/chandler_genre_
theory.pdf>
Charlton, K. (1994). Rock Music Styles: a History. Madison, WI: Brown & Benchmark. Cope, D. (1991). Computers and Musical Style. Madison, WI: A-R Editions.
Costa, M. (1999). Estetica dei media. Avanguardie e tecnologia. Roma: Castelvecchi.
Crapoulet, E. (2008). From Intermedial Music To Interactive Multimedia event: the Performance Of Ravel’s Miroirs. Lenguaje Y Representación / Culture, Language and Representation, Vol VI, Revista de Estudios Culturales De La Universitat Jaume I / Cultural Studies Journal Of Universitat Jaume I, pp. 121-136. Online <http://www.raco.cat/index.php/CLR/article/download/ 226340/307938>
D’Amato, F. (Ed. 2002). Sound Tracks. Tracce, convergenze e scenari negli studi musicali. Roma: Meltemi. Dalmonte, R. & Spampinato, F. (Eds. 2009). Il nuovo in musica. Lucca: LIM.
Dawes, C. (2006). Imploding Musical Genre. Locating a Modern phenomenon in Postmodern thought. MA Thesis available at Open Access Dissertations and Theses. Paper 6539. Online <http://digitalcommons.mcmaster.ca/opendissertations/6539>
Dusi, N. and Spaziante, L. (Eds. 2006). Remix-Remake. Pratiche di replicabilità. Roma: Meltemi.
Edlund, J. (2004). The Virtues of the Musifier: A Matter of View. Online <http://www.interamus.com/techTalk/ musificationAndView.html>.
Eisenberg, E. (1987). The Recording Angel. Explorations in Phonography. New York: McGraw Hill
Fabbri, F. (1982). A Theory of Musical Genres. Two Applications. In: D.Horn & P.Tagg (Eds.). Popular Music Perspectives (pp. 52-81). Göteborg and Exeter: International Association for the Study of Popular Music [paper delivered at the First International
65
Cf. also the notion of “chimera” music in Agostini in D’Amato 2002 and “global beat fusion” in Beres 2005.
66
Cf. “historical genres” in Holt 2007.
67
Cf. also Genette 1982 for a transtextuality-modeled notion of “transmediality”.
68
Cf. Fabbri 1982.
69
“Extra-musical” is a very problematic notion, cf. Sorce Keller 2012b; cf. also the extroversive level of analysis according to Monelle 1992.
70
Non-musical elements are “musicified”, i.e. incorporated within the music semiosphere, through a process of semiotic translation (intersemiotic translation or transmutation, according to Jakobson 1959). For the use of the term “musification” in informatics, cf. Edlung 2004; see also the concept of “musicalization” in literature from Mallarmè on, e.g. Lesure 1984, Costa 1999: 136, Wolf 1999.
71
Maybe, just “in between”, according to Holt 2007. Cf. the case of “free music” in Toynbee 2000 and the case of imaginary records (but combinatory music) in Marino 2011: 115-116; cf. also the notion of language as a “fascist system” in Roland Barthes and of language as the “chief meta-language” in Émile Benveniste.
