scholarly journals Back to structures and signs – remarks on the possibilities of structural aesthetics of music

2020 ◽  
pp. 33-40
Author(s):  
Eliza Krupińska
Keyword(s):  
Music Aesthetics ◽  
Structural Linguistics ◽  
History Of

Is it possible to talk of mental patterns underlying aesthetic reflections, and has the constant recurrence of particular ideas in the area of aesthetics some deeper explanation? Structural aesthetics of music is an authorial research conception which enables interpretation of phenomena from the area of history of music aesthetics, and in this way provides its systematised picture. The conception uses the ideas of structural linguistics: binary phonological opposition and the historicalliterary process in the approach of Jan Mukařovský. The article also contains an example of using this conception in relation to the aesthetics of antiquity (sophists, Plato, Aristotle), Descartes and impressionism.

The ‘Brazilian Connection’ in the History of American Linguistics

1999 ◽  
Vol 26 (3) ◽  
pp. 355-382
Author(s):  
Cristina Altman
Keyword(s):  
New York ◽  
The United States ◽  
South American ◽  
Columbia University ◽  
Structural Linguistics ◽  
History Of ◽  
Roman Jakobson ◽  
The 1950S ◽  
The 1960S ◽  
The One

Summary When mention is made of Brazil in connection with American linguistics, it usually amounts to a reference to the Linguistic Circle of New York, where Roman Jakobson (1896–1982) and Claude Lévi-Strauss (b.1908), who had come from Brazil where he had done ethnological work, met and exchanged ideas. This singular event has cast a shadow on other contacts between Brazil and American linguistics, of which, the one between Jakobson and the Brazilian linguist Joaquim Mattoso Câmara (1904–1970) was much more consequential, at least as far as the implementation of structural linguistics in Brazil and in South America generally during the 1950s and the 1960s is concerned. Mattoso Câmara came to the United States and spent most of his time in New York City (September 1943 till April 1944), where he got exposure to Praguean type structuralism, notably through Jakobson’s lectures he attended at Columbia University and at the École Libre of New York, which had been established by European refugees at the time. He also participated in the first meetings of the Linguistic Circle of New York in 1943 as one of its co-founders. Following his return to Rio de Janeiro, Mattoso Câmara proposed, in 1949, as his doctoral thesis a phonemic description of Brazilian Portuguese. The work was published a few years later, in 1953. His most influential work, Princípios de Lingüística Gerai, first published in 1954, had two more revised and updated editions (1958, 1967) and served to introduce several generations of Brazilian as well as other South American students to structural linguistics during the 1950s and 1960s.

Sound Object Lessons

2016 ◽  
Vol 69 (3) ◽  
pp. 793-829 ◽  
Author(s):  
Carolyn Abbate
Keyword(s):  
Film Music ◽  
Sound Studies ◽  
Machine Age ◽  
Technological Artifacts ◽  
Music Aesthetics ◽  
Object Lessons ◽  
History Of ◽  
Sound Engineer ◽  
Acoustic Technologies ◽  
Sound Objects

Two brief film sequences, in which paper blowing down a street (The Informer, 1935) and a candle passed along a table (The Old Dark House, 1931) make sounds. Next to them lies an antique microphone. This article charts the genealogies, cultural resonances, and interactions of these sound objects, drawing on the history of sound and acoustic technologies, film music aesthetics, and music philosophy. The sound objects give expression to fables about hearing in the machine age (1870–1930), and they disenthrall the inaudible: a sign of modernity. They provoke us to consider technological artifacts not as embodying empirical truths, but as mischief-makers, fabulists, or liars; and to confront technological determinism's sway in fields such as sound studies and music and science, which has given rise to intellectual talismans that sidestep the complexities in interactions between humans, instruments, and technologies. To underline this dilemma I make a heuristic separation between imaginarium, sensorium, and reshaped hand. This separation contextualizes a return to the film sequences and their historical precedents, with an emphasis on their patrimony from sound-engineer improvisation, and as aesthetic negotiations with the microphone itself. The carbon microphone, invented in 1878, had delivered a shock to machine age imaginations; its history is largely untold, and is sketched here to suggest that a fuller history centered on microphonics would lie athwart conventional scholarly accounts of sound technologies, listening, and hearing ca. 1830–1930. The sound objects, finally, give voice to a vernacular philosophy of music's efficacy. They merit an ethical metaphysics, where metaphysical language, ironically, asks us to be attentive to mundane objects that have been disdained and overlooked.

scholarly journals The distinction between semantics and pragmatics: The point of view of semiotics

2021 ◽  
Vol 18 (3) ◽  
pp. 293-307
Author(s):  
Claudio Paolucci
Keyword(s):  
Differential Calculus ◽  
Point Of View ◽  
Final Part ◽  
Umberto Eco ◽  
Ferdinand De Saussure ◽  
Structural Linguistics ◽  
Semantics And Pragmatics ◽  
History Of ◽  
Modes Of Existence ◽  
Independent Existence

Abstract In this paper I will try to outline the reasons why, in order to understand the life and the nature of meaning, the semiotic tradition has always thought that it was better not to separate semantics and pragmatics. I will first reconstruct the history of this idea, grounded in Pragmatism and in Structural Linguistics. Later, I will deal with its first formulation in A Theory of Semiotics by Umberto Eco. In the second part of the paper, I will work on the idea by Ferdinand de Saussure that meanings are values, that is, indeterminate entities whose identity is determined only through reciprocal determination. I will claim that this idea is the importation in linguistics of Leibniz’s principles of the differential calculus. In the final part of the paper, I will apply this idea to the distinction between semantics and pragmatics, claiming that meanings are better understood through a theory of modes of existence. If we understand the differential nature of meaning, we can see that meanings live only through the using of the expressions and these variations contribute to offer stability within the transformations, without creating a stable object defined by its properties and endowed with an independent existence split from the relationships that define it.

scholarly journals Interconnection of linguistics and musical art

2021 ◽  
Vol 5 (S4) ◽  
Author(s):  
Olga B. Solomonova ◽  
Galyna F. Zavgorodnia ◽  
Olha V. Muravska ◽  
Alla D. Chernoivanenko ◽  
Oksana O. Aleksandrova
Keyword(s):  
Professional Training ◽  
Academic Discipline ◽  
Educational Practice ◽  
Reference Points ◽  
Language System ◽  
Wide Range ◽  
Music Interpretation ◽  
Music Aesthetics ◽  
History Of ◽  
The Way

The terminology of music semiology, which is an academic discipline with a significant educational resonance and a necessary component of music and educational practice at its higher educational and qualification levels, lies at the intersection of the main aspects of musicology such as the history of music, the theory and analysis of musical forms, music aesthetics and the theory of music interpretation, and others. Music semiology covers the transitional methodological abilities due to its subject reference points and the wide range of the material involved in the cognitive field. Music semiology can be considered a necessary basic discipline for the professional training of musicologists and practicing musicians of any programme. There is no doubt about the importance of mastering the language system, which is fundamental in the chosen field of communication. As an academic discipline, music semiology can be presented according to the way its terminology is built, it includes three main themes among which each of the following continues the meaning of the previous one by deepening and enlarging, detailing in an analytical way. Scientific novelty is determined by the fact that unlike music semiotics and the theory of music semantics.

Colonial and Decolonial Linguistics

2020 ◽  
Keyword(s):  
Knowledge Production ◽  
Linguistic Anthropology ◽  
Linguistic Knowledge ◽  
Colonial History ◽  
Language And Culture ◽  
Theoretical Approaches ◽  
Structural Linguistics ◽  
Data Production ◽  
History Of ◽  
African Linguistics

The discipline of linguistics in general, and the field of African linguistics in particular, appear to be facing a paradigm shift. There is a strong movement away from established methodologies and theoretical approaches, especially structural linguistics and generativism, and a broad move towards critical linguistics, sociolinguistics, and linguistic anthropology. These developments have encouraged a greater awareness and careful discussion of basic problems of data production in linguistics, as well as the role played by the ideologies of researchers. The volume invites a critical engagement with the history of the discipline, taking into account its deep entanglements with colonial knowledge production. Colonial concepts about language have helped to implement Northern ideas of what counts as knowledge and truth; they have established institutions and rituals of education, and have led to the lasting marginalization of African ways of speaking, codes, and multilingualisms. This volume engages critically with the colonial history of our discipline and argues that many of the colonial paradigms of knowledge production are still with us, shaping linguistic practices in the here-and-now as well as non-specialist talk about language and culture. The contributors explore how metalinguistic concepts and ways of creating linguistic knowledge are grounded in colonial practice, and exist parallel to, and sometimes in dialogue with other knowledges about language.

A Short History of Structural Linguistics. By Peter Matthews

2003 ◽  
Vol 30 (1-2) ◽  
pp. 231-238
Author(s):  
Stijn Verleyen
Keyword(s):  
Short History ◽  
Structural Linguistics ◽  
History Of

Study of chorus art on students’ aesthetic cognition

2021 ◽  
pp. 002072092110032
Author(s):  
Zehui Zhang
Keyword(s):  
Art Students ◽  
Development History ◽  
Spiritual Civilization ◽  
Music Aesthetics ◽  
History Of ◽  
Aesthetic Cognition ◽  
Life Philosophy ◽  
The Aesthetic ◽  
Aesthetic Characteristics

With the passage of time, people’s lifestyle and life philosophy have changed a lot; people began to pursue a higher quality of life. Chorus art is a spiritual civilization that shows a harmonious beauty. Through the melody of music works and chorus art, students are resonated, and music is used to guide students to be active and to enjoy beauty from beautiful melodies and strong rhythms. This paper studies the edification of students’ aesthetics from the art of chorus. Through the development history of chorus art in Western countries and China, this paper expounds the diversified development process of chorus, further analyze the aesthetic characteristics of chorus art, and guide people to feel the connotation of chorus art from the perspective of music aesthetics, and provide countermeasures for the development of chorus art.

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