Electronic music in the perspective of semiotics

Main Article Content

Justyna Humięcka-Jakubowska

Abstrakt

The aim of the present article is to describe the unique idiom of electronic music in the perspective of semiotics. The starting point of this reflection is an attempt at a definition of what electronic music is. It then moves on to questions concerning the explanation of the two main concepts of semiotics, sign and meaning. Here, the goal is to outline the general tendencies in interpreting these concepts in the context of Pierce’s theory of sign and in the context of other concepts utilized in the field of narratology, i.e. diegesis and mimesis; with the aim of transferring these interpretations to the field of electronic music. The important nodes of this reflection are illustrated with specific examples of electronic musical works. The article also explores the semantic and cognitive attributes of electronic music and the relationships between them. The understanding of meaning in electronic music is explained in terms of analogies between the characteristics of cognitive processing of the sounds of everyday life and sounds utilized in electronic music.

Downloads

Download data is not yet available.

Article Details

Dział
Articles

Referencje

  1. Qamci, Anil. ‘Diegesis as a Semantic Paradigm for Electronic Music.’ In TES 2012: Toronto Electroacoustic Symposium. Accessed May 8, 2014. http://cec.sonus.ca/econtact/15_2/camci_diegesis.html
  2. Chadabe, Joel. Electronic Sound: The Past and Promise o f Electronic Music. Saddle River, NJ: Prentice-Hall, 1997.
  3. Coulson, Seana. Semantic Leaps: Frame-Shifting and Conceptual Blending in Meaning Construction. Cambridge: Cambridge University Press, 2001.
  4. Di Santo, Jean-Louis. ‘Referential Sounds, Symbolism and Semiotics.’ In Proceedings of the Electroacoustic Music Studies Network Conference: Meaning and Meaningfulness in Electroacoustic Music, Stockholm, June 11-15, 2012. Accessed May 8, 2014. http://www.ems-network.org.
  5. Eco, Umberto. A Theory o f Semiotics. Bloomington: Indiana University Press, 1976.
  6. Holmes, Thomas B. Electronic and Experimental Music: Pioneers in Technology and Composition. London: Routledge Music/Songbooks, 2002.
  7. Kendall, Gary S. ‘Meaning in Electroacoustic Music and the Everyday Mind.’ Organised Sound 15/1 (2010): 63-74.
  8. Matossian, Nouritz. Xenakis. London: Kahn and Averill, 1986.
  9. Neisser, Ulric. Cognition and Reality: Principles and Implications o f Cognitive Psychology. San Francisco: W. H. Freeman and Co., 1976.
  10. Peirce, Charles Sanders. Ecrits sur le signe. Paris: Seuil, 1978.
  11. Risset, Jean-Claude. Foreword to Electroacoustic Music: Analytical Perspectives, edited by Thomas Licata, xiii-xviii. Westport, Connecticut, London: Greenwood Press, 2002.
  12. Snyder, Bob. Music and Memory. Cambridge, Mass.: MIT Press, 2001.
  13. Sternberg, Robert J. Psychologia poznawcza. Translated by Ewa Czerniawska and Anna Matczak. Warsaw: WSiP, 2001. Originally published in Robert J. Sternberg, Cognitive Psychology, 2nd. edn (New York: Harcourt Brace, 1999).
  14. Stockhausen, Karlheinz. Texte zur Musik 2, edited by Dieter Schnebel. Cologne: Verlag M. DuMont Schauberg, 1964.
  15. Stockhausen, Karlheinz. ‘Electroacoustic Performance Practice.’ Perspectives o f New Music 34/1 (1996): 74-105.