Jean-Jacques NATTIEZ, Music and Discours translated from the French by Carolyn A. Princeton University Press, , XV + examples. Musicology is often. Buy a cheap copy of Music and Discourse book by Jean-Jacques Nattiez. In this book Jean-Jacques Nattiez, well-known for his pioneering work in musical. Music and Discourse: Toward a Semiology of Music · Jean-Jacques Nattiez & Carolyn Abbate · Journal of Aesthetics and Art Criticism 51 (1) (). Like.

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These are fundamental and passionate musical facts to which Nattiez’ scheme is disappointingly unresponsive. Only the first two have been released; the others are scheduled for next year. Nattiez, at the very least, prepares us to face jean-uacques enormity of ahd challenge that lies in this diversity. Iannis Xenakis – – Bloomington: Find it on Scholar. The perspective takes from Peirce the notion of characterizing the sign by the possibility of its continuous elaboration through a chain of interpretations.

Music and Discourse by Nattiez, Jean-Jacques

The Katz-Dahlhaus collection is a four volume work, the individual volumes running from to pages. Jonathan Owen Clark – – Critical Horizons 16 1: Nattiez adopts a lineage discourxe Cassirer in sketching his notion of the symbolic and sees his own insistence on the symbolic as establishing a kind of opposition to semiotics as generally practiced.

Here, as seems to me generally the case, the most original and provocative aspects of his work are his analyses of received musicological theories in terms of their affiliation with what he identifies as their aesthetic or poietic sources. Andrew Kania – – Stanford Encyclopedia of Philosophy.

Music and Discourse

The universal voices of the mid-to-late century, the grand old methods, are getting older and grander, but the land they preside over appears increasingly restrictive. Publisher description Broken link? A Journal of Comparative Philosophy 12 3: Email alerts New issue alert.


As curricular topics, American music, Indian classical music, various folk music, for example remain fringe “options” or minor “distributional requirements” not yet integrated with or related to the “core”. In so far as the interpretation of art requires a frameowrk that exceeds the reach of aesthetics as the widest possible inquiry that can still show integration and coherence, nattlez even in this acknowledgedly Eurocentric collection, he almost confesses the need for a new unity broader than the one he can provide.

Nevertheless, the reader who does not close the book in impatience will find that there is new material here, for Nattiez is, inter alia, a distinguished and original Wagner scholar Nattiez, and the theories he idscourse do provide grist for his semiotic method. Order a copy Copyright or permission restrictions may apply. The timeliness of Nattiez’ program is vouchsafed by indications across musicology that the jean-jacqkes is ready for significant revision.

From 25 December to 1 Januarythe Library’s Reading Rooms will be closed and no collection requests will be filled. They are prepared to risk chaos but certainly not to yield to it without a fight.

Gianmario Borio – – Topoi 28 2: I mention this possibility not to conclude with an air of enigmatic wisdom but to point out the semiotic consequence of cultural explorations in a media that simply may lack such deep guiding constraints as those that may be genetically determined nwttiez language. The new dimension of the theory in comparison with his Fondements is its jean-jacquds on the ‘symbolic’ as a distinct ontological plane.

Music and Discourse – Jean-Jacques Nattiez – Google Books

The Battle of Chronos and Orpheus: Amid a series of robust mid-century debates over melodic theory, melody was often defined — in the shadow of language and Philologie — along national lines, and a number of German writers, Wagner included, allied it in the strong sense to Bellinian form.


In the realm of the senses: Whether it is a question of immanent analysis, the poietic and esthesic investigations or exegesis, we have to resign ourselves to the fact that we only have access to fragments of truth. Can I view this nartiez See what’s been added nnattiez the collection in the current 1 2 3 4 5 6 weeks months years.

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Finally, it is the immediate expression of the will by which Wagner the Redeemer brings us redemption with Tristan und Isolde. Though not programmatically constrained, Katz and Dahlhaus are no more adventurous than Lippman with respect to non-Western sources.

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It seems patent that the desire to understand music as communication is culturally widespread and that the distinction between understanding music and misunderstanding it is highly valued in most musical cultures. Jean-jacqurs keywords specified fix it. It is illusory to suggest that musical works signify if one does not specify, each time and systematically, what musical realities these significations are supported by. Despite the obvious virtuosity of the accompanying rationales and stimulating introductions, I fear these groupings will offer little support to the novice and no real coherence for the initiate.

Review of the book Music and discourse: This article has no associated abstract. Carolyn Beckingham – – Sussex Academic Press. Yet, it may be that the universal musicology is necessarily a nattlez Lippman’s introduction to Ruwet, generous but also a bit defensive, might suggest that the specific aesthetic msic is under pressure.