Semioticians began by looking at literature but have gradually applied their techniques to other disciplines, including music. The late Naomi Cumming... based this consideration of the sources of musical expression on her experiences as a performer—with interesting, if rarely surprising, results." —Choice
Using classical violin music as her principal laboratory, the author examines how a performance incorporates distinctive features not only of the work, but of the performer as well—and how the listener goes about interpreting not only the composer's work and the performer's rendering of the work, but also of the performer's and listener's identities. A richly interdisciplinary approach to a very common, yet persistently mysterious, part of our lives.
Preliminary Table of Contents:
Subjects and Subjectivity
A Philosophical Outlook
1. Signs of Subjectivity
Physical Disciplines and Signs
A Semiotic View of Musical Subjectivity
Expressive Individuation and Uncertainty
2. Listening Subjects and Semiotic Worlds
The Uncertainties of Musical Signification
Interntionality and Metaphor
Subjects and First-person Authority
Regaining an Interpretive "I"
3. Musical Signs
Signs and Objects
Questions and Typologies
4. Naming Qualities; Hearing Signs
Qualities and Qualities-as-Signs
Disciplinary Boundaries: How Does Semiotics Relate to Psychology?
Gesture as Performance and Convention
To Perform or to Dissimulate?
Voice and Gesture as Virtualities
6. Framing Willfulness in Tonal Law
Theorists: Giving Roles to Rules
The Dialectics of Tonal Semiosis
7. Complex Syntheses
Expressive Complexity and Musical "Personae"
Modes of Synthesis
8. Culturally Embedded Signs
9. Values and Personal Categories
Sounds and Sensuality
Rehabilitating the Subject
Appendix: Theorizing Generals
Real or Nominal Rules?
Finding Constancies, Explaining What One Hears, or Seeking Enlightenment?