THE RECEPTION OF MUSIC: SEMIOLOGICAL APPROACHES

MusicologyDr Paul Carr

Revision from Last Week

Introduction Allan Moore (2013) asserts that music ‘refers’ in 3 ways: Within Itself: For example how Verse 1 relates to Verse

2, how the Question Phrase relates to the Answer Phrase, how Sentence 1 relates to Sentence 2, particular drum fills that mark the end of a section and the start of another, etc. Traditional Theory best approach.

To Itself: Makes reference to a separate instance of music. For example Cover Versions referring to an original, a particular guitar sound that refers to an ‘original, etc. Sometimes known as ‘Intertextuality’.

Outside Itself - How does music relate to ‘things’, feelings etc outside of itself? This is what I mean by the word ‘semiology’

Phil Tagg (2013: 45) asserts that music COMMUNICATES (note - not refers) in the following ways.

1. Between an individual and themselves2. Between two individuals3. Within the same group (not necessarily a

‘band’ – could be a genre for example)4. Between an individual and a group5. Between a group and an individual6. Between Groups?

Absolute Music Vs Semiology

Phillip Tagg (2013) makes reference to a few other important considerations:

Believes the concept of ‘Absolute Music’ to be an ‘article of faith (92) leading to canonisation and elitism.

By placing musical experience outside of the material world - enables upper classes to perpetuate elitism – informing us what is ‘good’ and ‘bad’

Believes Classical absolutism denied the context of music - modern day (post-modern) absolutism denies the text itself - e.g. journalism, social studies approach.

Asserts that Ethnomusicology - sociological and semiotic approaches have made musicology hopefully realize the absurdity of the concept of ‘absolute music’ –

This assisted the development of what we now call ‘New Musicology’.

Two Important Approaches: Part 1 Ferdinand de Saussure

FERDINAND DE SAUSSURE’S SIGN

Coined the term – ‘Semiology’

Dyadic model – consists of both a -

Signifier (for example the word ‘Tree’ or a musical phrase) and

Signified (The Concept - what it stands for – its meaning!)

According to Saussure – meaning is a combination of both –

He called this ‘arbitrary relationship a ‘Sign’

For Example – What does the word ‘Tree’ Mean to You?

What is a Musical Signifier?

Notes Scales Chords Production Effects Posture/Dress of

Performers Gestures such as

crescendos, time signature changes, etc.

Etc, etc? Combinations of these

Examples of Aural Signifer/Signifieds

Signifier: A piece with a slow tempo, a high pitched female solo voice, synthesized strings, or gently arpeggiated piano chords

Signified: Vulnerability, love, romance, social acceptance, etc.

For example Listen to and make some notes what the following music makes you feel:

Adagio for Strings by Samuel Barber Symphony no. 3 by Goricki

Examples of Visual Signifer/Signifieds

Music and Image Combined Platoon

Symphony of Sorrowful Songs On these occasions – we need to differentiate

between what music means – and what it means HERE

Also need to differentiate between what music means and its EFFECTS on us

Music and Image work together dialogically (together)

Words and Pictures – Denotative (literal) Music – often Connotative (associative) When placed with image/words – meaning in

music can be made more specific

Homework

Place on my blog an example of how both musical and visual signified/signifiers work