On Ruwet’s semiotically oriented theory of music

Main Article Content

Eliza Krupińska

Abstrakt

The article deals with Nicolas Ruwet’s semiotically oriented theory of music, which constitutes the canvas of his taxonomic analysis. Ruwet adopts from Jakobson’s semiotic structuralism the binary model of the sign, together with its key concepts of equivalence and introversive semiosis. Structural understanding of art began with the poetic function of language distinguished by Jakobson, which is defined as the projection of the principle of equivalence from the axis of selection to the axis of combination. The principle of equivalence, regarded by Ruwet as the regulating principle of musical syntax was, in Jakobson’s view, the answer to the question about what kind of semiosis was involved in music. The latter, described by Jakobson as introversive, deserves attention not only in view of its association with taxonomic analysis, but also because of its conceptual convergence with Leonard B. Meyer’s theory of meaning and formal iconisms of David Osmond-Smith.

Downloads

Download data is not yet available.

Article Details

Jak cytować
Krupińska, E. (2018). On Ruwet’s semiotically oriented theory of music. Interdisciplinary Studies in Musicology, (14), 249-258. Pobrano z https://pressto.amu.edu.pl/index.php/ism/article/view/15379
Dział
Articles

Referencje

  1. Bojtâr, Endre. Slavic Structuralism. Translated by Helen Thomas, Budapest - Amsterdam: John Benjamins Publishing Company, 1985.
  2. Eluard, Paul. “La terre est bleue”. In L ’amour la poésie, Paris: Gallimard, 1929.
  3. Jakobson, Roman. “Musikwissenschaft und Linguistik”. In Selected Writings I. Phonological Studies, 551-53. The Hague: Mouton, 1962, trans. Musique enjeu 5 (1971): 57-9.
  4. Jakobson, Roman. “Closing statements: Linguistics and Poetics”. In Style in Language. Edited by Thomas Sebeok, 350-77. Cambridge, Mass: MIT Press, 1960.
  5. Jakobson, Roman. “Language in Relation to other Communication Systems”. In Selected Writings II. Word and Language, 697-711. The Hague: Mouton, 1962.
  6. Kofin, Ewa. Semiologiczny aspekt muzyki. Wroclaw: Wydawnictwo Uniwersytetu Wrocławskiego, 1991.
  7. Meyer, Leonard B. Emotion and Meaning in Music. Chicago: Chicago University Press,1956.
  8. Nattiez, Jean-Jacques. Fondements d’une sémiologie de la musique. Paris: Union Générale d’Éditions, 1975.
  9. Nowak, Andrzej Józef. “Trzy kręgi estetyki semiotycznej, §8. Krąg strukturalnej lingwistyki”. In Świat człowieka [The World of Mankind], 198-221. Kraków: Collegium Columbinum, 2002.
  10. Osmond-Smith, David. “L’iconisme formel: pour une typologie des transformations musicales.” Semiotica 15 (1975), no. 1: 33-47.
  11. Ruwet, Nicolas. Methods ofAnalysis in Musicology. Translated by Mark Everist, Music Analysis 6 (1987), no 1/2:11-36.
  12. Ruwet, Nicolas “Note sur les duplications dans l’oeuvre de Claude Debussy”. In Langage, musique, poesie, 70-99. Paris: Seuil, 1972.
  13. Saussure, Ferdinand de. Course in General Linguistics. Translated by Wade Baskin, New York: The Philosophical Library, 1959.