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001 ocm43952059;

003 OCoLC;

005 20141212145003.0;

008 000424s2000 njuag b 001 0 eng ;

010 a| 00032659;

020 a| 069105715X (alk. paper);

020 a| 0691057168 (pbk. : alk. paper);

035 a| (Sirsi) o43952059;

035 a| (OCoLC)43952059;

040 a| DLCc| DLCd| C#Pd| UtOrBLW;

042 a| pcc;

049 a| EREM;

050 00 a| ML3838b| .M692 2000;

082 00 a| 780/.1/42| 21;

100 1 a| Monelle, Raymond,d| 1937-2010.=| ^A322285;

245 14 a| The sense of music :b| semiotic essays /c| Raymond Monelle ; with a foreword by Robert Hatten.;

300 a| xvi, 248 pages :b| illustrations, music ;c| 24 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Includes bibliographical references (pages 233-242) and index.;

505 0 a| The wordless song -- The search for topics -- Topic and Leitmotiv -- The temporal image -- Genre and structure -- Text and subjectivity -- Mahler and Gustav -- Allegory and deconstruction -- New beginnings.;

520 a| The fictional Dr. Strabismus sets out to write a new comprehensive theory of music. But music's tendency to deconstruct itself combined with the complexities of postmodernism doom him to failure. This is the parable that frames this book, a novel treatment of music theory that reinterprets the modern history of Western music in the terms of semiotics. Based on the assumption that music cannot be described without reference to its meaning, the author proposes that works of the Western classical tradition be analyzed in terms of temporality, subjectivity, and topic theory. Critical of the abstract analysis of musical scores, he argues that the score does not reveal music's sense. That sense--what a piece of music says and signifies--can be understood only with reference to history, culture, and the other arts. Thus, music is meaningful in that it signifies cultural temporalities and themes, from the traditional manly heroism of the hunt to military power to postmodern "polyvocality." This theoretical innovation allows the author to describe how the Classical style of the eighteenth century--which he reads as a balance of lyric and progressive time--gave way to the Romantic need for emotional realism. He argues that irony and ambiguity subsequently eroded the domination of personal emotion in Western music as well as literature, killing the composer's subjectivity with that of the author. This leaves Dr. Strabismus suffering from the postmodern condition, and the author with an exciting, controversial new approach to understanding music and its history.;

650 0 a| Musicx| Semiotics.=| ^A271201;

994 a| X0b| ERE;

910 a| PromptCat;

980 a| 2000-12-27b| 65d| 3.28e| 54.6f| 664483;

596 a| 3;

998 a| 778952;

999 a| ML3838 .M692 2000w| LCc| 1i| 30372010926050d| 7/17/2014e| 1/24/2005f| 4/25/2024g| 4l| MSTm| JMUSICn| 3p| $54.60r| Ys| Yt| MGESBKu| 1/11/2001x| BOOKz| MCIRCo| .STAFF. enhanced 1/23/24 -jjab;

The sense of music : semiotic essays / Raymond Monelle ; with a foreword by Robert Hatten.

Author/creator	Monelle, Raymond
Format	Book
Publication Info	Princeton, N.J. : Princeton University Press, ©2000.
Description	xvi, 248 pages : illustrations, music ; 24 cm
Subjects	Music--Semiotics.

Contents	The wordless song -- The search for topics -- Topic and Leitmotiv -- The temporal image -- Genre and structure -- Text and subjectivity -- Mahler and Gustav -- Allegory and deconstruction -- New beginnings.
Abstract	The fictional Dr. Strabismus sets out to write a new comprehensive theory of music. But music's tendency to deconstruct itself combined with the complexities of postmodernism doom him to failure. This is the parable that frames this book, a novel treatment of music theory that reinterprets the modern history of Western music in the terms of semiotics. Based on the assumption that music cannot be described without reference to its meaning, the author proposes that works of the Western classical tradition be analyzed in terms of temporality, subjectivity, and topic theory. Critical of the abstract analysis of musical scores, he argues that the score does not reveal music's sense. That sense--what a piece of music says and signifies--can be understood only with reference to history, culture, and the other arts. Thus, music is meaningful in that it signifies cultural temporalities and themes, from the traditional manly heroism of the hunt to military power to postmodern "polyvocality." This theoretical innovation allows the author to describe how the Classical style of the eighteenth century--which he reads as a balance of lyric and progressive time--gave way to the Romantic need for emotional realism. He argues that irony and ambiguity subsequently eroded the domination of personal emotion in Western music as well as literature, killing the composer's subjectivity with that of the author. This leaves Dr. Strabismus suffering from the postmodern condition, and the author with an exciting, controversial new approach to understanding music and its history.
Bibliography note	Includes bibliographical references (pages 233-242) and index.
LCCN	00032659
ISBN	069105715X (alk. paper)
ISBN	0691057168 (pbk. : alk. paper)

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The sense of music : semiotic essays / Raymond Monelle ; with a foreword by Robert Hatten.

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