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Musical Meaning and Interpretation-Robert S. Hatten, editor
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Produktdetails
- Produktdetails
- Verlag: Indiana University Press
- Seitenzahl: 256
- Erscheinungstermin: 1. Dezember 2004
- Englisch
- Abmessung: 241mm x 167mm x 27mm
- Gewicht: 541g
- ISBN-13: 9780253343833
- ISBN-10: 0253343836
- Artikelnr.: 14092318
- Verlag: Indiana University Press
- Seitenzahl: 256
- Erscheinungstermin: 1. Dezember 2004
- Englisch
- Abmessung: 241mm x 167mm x 27mm
- Gewicht: 541g
- ISBN-13: 9780253343833
- ISBN-10: 0253343836
- Artikelnr.: 14092318
David Lidov
Foreword
1. Prelude-Is Language a Music?
Part I. Structuralist Pespectives-Introduction
2. Structure and Function in Repetition.
3. The Allegretto of Beethoven's Seventh.
4. Mediation as a Formal Principle in Music: Three Examples.
Part II. Semiotic Polemics-Introduction
5. Nattiez's Fondements.
6. Our Time with Druids.
7. Why We Still Need Peirce.
Part III. From Gestures to Discourses-Introduction
8. Mind and Body in Music.
9. Opera Operta: Realism and Rehabilitation in La Traviata
10. A Monument in Song: Bury my Heart at Wounded Knee by Beverley (Buffy)
St. Marie.
Part IV. The Messages of Methods-Introduction
11. Bartok the Progessive.
12. The Art of Music Theory and the Aesthetic Category of the Possible
13. Technique and Signification in the Twelve-Tone Method
14. The Project of Abstraction in Painting and Music.
Part V. Resisting Representation-Introduction
15. Replaying my Voice Mail
Notes
References
Index
1. Prelude-Is Language a Music?
Part I. Structuralist Pespectives-Introduction
2. Structure and Function in Repetition.
3. The Allegretto of Beethoven's Seventh.
4. Mediation as a Formal Principle in Music: Three Examples.
Part II. Semiotic Polemics-Introduction
5. Nattiez's Fondements.
6. Our Time with Druids.
7. Why We Still Need Peirce.
Part III. From Gestures to Discourses-Introduction
8. Mind and Body in Music.
9. Opera Operta: Realism and Rehabilitation in La Traviata
10. A Monument in Song: Bury my Heart at Wounded Knee by Beverley (Buffy)
St. Marie.
Part IV. The Messages of Methods-Introduction
11. Bartok the Progessive.
12. The Art of Music Theory and the Aesthetic Category of the Possible
13. Technique and Signification in the Twelve-Tone Method
14. The Project of Abstraction in Painting and Music.
Part V. Resisting Representation-Introduction
15. Replaying my Voice Mail
Notes
References
Index
Foreword
1. Prelude-Is Language a Music?
Part I. Structuralist Pespectives-Introduction
2. Structure and Function in Repetition.
3. The Allegretto of Beethoven's Seventh.
4. Mediation as a Formal Principle in Music: Three Examples.
Part II. Semiotic Polemics-Introduction
5. Nattiez's Fondements.
6. Our Time with Druids.
7. Why We Still Need Peirce.
Part III. From Gestures to Discourses-Introduction
8. Mind and Body in Music.
9. Opera Operta: Realism and Rehabilitation in La Traviata
10. A Monument in Song: Bury my Heart at Wounded Knee by Beverley (Buffy)
St. Marie.
Part IV. The Messages of Methods-Introduction
11. Bartok the Progessive.
12. The Art of Music Theory and the Aesthetic Category of the Possible
13. Technique and Signification in the Twelve-Tone Method
14. The Project of Abstraction in Painting and Music.
Part V. Resisting Representation-Introduction
15. Replaying my Voice Mail
Notes
References
Index
1. Prelude-Is Language a Music?
Part I. Structuralist Pespectives-Introduction
2. Structure and Function in Repetition.
3. The Allegretto of Beethoven's Seventh.
4. Mediation as a Formal Principle in Music: Three Examples.
Part II. Semiotic Polemics-Introduction
5. Nattiez's Fondements.
6. Our Time with Druids.
7. Why We Still Need Peirce.
Part III. From Gestures to Discourses-Introduction
8. Mind and Body in Music.
9. Opera Operta: Realism and Rehabilitation in La Traviata
10. A Monument in Song: Bury my Heart at Wounded Knee by Beverley (Buffy)
St. Marie.
Part IV. The Messages of Methods-Introduction
11. Bartok the Progessive.
12. The Art of Music Theory and the Aesthetic Category of the Possible
13. Technique and Signification in the Twelve-Tone Method
14. The Project of Abstraction in Painting and Music.
Part V. Resisting Representation-Introduction
15. Replaying my Voice Mail
Notes
References
Index