Music and intelligibility
DOI:
https://doi.org/10.18172/brocar.2548Keywords:
Music, intelligibility, musical meaning, sound context, perception and compositionAbstract
Music is the result of an intelligibility that transforms a sound experience into a musical experience. I explain this statement in detail focusing the listening experience; the way listeners construct what they listen to, and the resistance that prevents listeners from producing fully arbitrary constructions. Afterwards, I explain what music meaning is, and I make some observations on the context and its striking influence on the definition of what music is. I conclude by briefly presenting four signs of how this way of viewing music is present in the current musical art.Downloads
References
AROM, S., “Les musiques traditionelles d’afrique centrale: conception/perception”, en Composition et perception, Colección Contrechamps, v. 10, 1989, pp. 177-195.
BENT, I., Analysis. London, MacMillan, 1987.
CORADINI, L. P. y ZAMPRONHA, E., “Um mapa das tendências de composição pós-1980 que utilizam recursos tecnológicos”, en Música em perspectiva, v. 2, n. 2, 2009, pp. 64-77. Disponible en: <http://ojs.c3sl.ufpr.br/ojs2/index.php/musica/article/viewFile/19529/12756>, acceso en 22/02/2013.
DEBUSSY, C., “Concerts Colonne: du goût”, en Revue S.I.M., v. 2, 1913, pp. 47-49.
FICHET, L., Les théories scientifiques de la musique. Paris, VRIN, 1996.
FRANCÈS, R., La perception de la musique, 10ª ed. Paris, VRIN, 1984.
FUBINI, E., La musica: natura e storia. Torino, Einaudi, 2004.
JOHNSON, P., “The legacy of recordings”, en John Rink (ed.), Musical performance: a guide to understanding. Cambridge, Cambridge University Press, 2002, pp. 197-212.
MARTINEZ, J. L., "Icons in music: a peircean rationale", en Semiótica, v. 110, 1/2, 1996, pp. 57-86.
MBARGA, J.-C., “Sociosemiótica del Nkúl en la cultura tradicional Beti (Camerún)”, en Miguel Ángel Muro Munilla (coord.), Arte y nuevas tecnologías: X Congreso de la Asociación Española de Semiótica. Logroño, Asociación Española de Semiótica, 2004, pp. 791-807.
MERRELL, F., Introducción a la semiótica de C. S. Peirce. Maracaibo, Universidad del Zulia y Asociación Venezolana de Semiótica, 1998.
NÖTH, W., Handbook of semiotics. Bloomington, Indiana University Press, 1990.
NÖTH, W., Panorama da semiótica: de Platão a Peirce. São Paulo, Annablume, 1995.
PEIRCE, C. S., Collected papers, (C. Hartshorne, P. Weiss, A.W. Burks, eds.). Cambridge, Harvard University Press, 1934-5.
RUWET, N., Langage, musique, poésie. Paris, Le Seuil, 1972.
SANTAELLA, L., A assinatura das coisas. Rio de Janeiro, Imago, 1992.
SANTAELLA, L., A teoria geral dos signos. São Paulo, Ática, 1995.
SCHAEFFER, P., Traité des objets musicaux [nouvelle édition]. Paris, Éditions du Seuil, 1966.
STOCKHAUSEN, K., “Musique électronique”, en Contrechamps (Editions L'Age d'Homme), n. 9, 1988, pp. 66-77.
TARASTI, E., A theory of musical semiotics, Bloomington, Indiana, 1994.
TRAMO, M. et al., “Neurobiology of harmony perception”, en I. Peretz y R. Zatorre (eds.), The cognitive neuroscience of music. Oxford, Oxford University Press, 2005, pp. 127-151.
ZAMPRONHA, E., Notação, representação, composição: um novo paradigma da escrita musical. São Paulo, Annablume, 2000.
ZAMPRONHA, E., “Arte e cultura: música e semiótica”, en Maria de Lourdes Sekeff, Arte e cultura: estudos interdisciplinares. São Paulo, Annablume, 2001, pp. 21-35.
ZAMPRONHA, E., “A construção do sentido musical”, en Maria de Lourdes Sekeff y Edson Zampronha, Arte e cultura III: estudos interdisciplinares. São Paulo, Annablume, 2004, pp. 75-84.
ZAMPRONHA, E., “Três exemplos de retórica en el discurso musical”, en Claves, n. 2, 2006, pp. 46-59. Disponible en: <http://www.ccta.ufpb.br/claves/pdf/claves02/claves_2_tres_exemplos.pdf>, acceso en 22/02/2013.
ZAMPRONHA, E., “Usando citações na música pós-moderna”, en Maria de Lourdes Sekeff y Edson Zampronha, Arte e cultura V: estudos interdisciplinares. São Paulo, Annablume, 2009a, pp. 154-172.
ZAMPRONHA, E., “Interactividad y organización musical”, en Ideas sónicas / sonic ideas. Morelia (México), CMMAS, v. II, n. 1, 2009b, pp. 63-71.
ZAMPRONHA, E., “Da escuta do objeto sonoro à composição musical? - Um estudo sobre a irreversibilidade da escuta em composição”, en OuvirOuVer, v. 7, n. 1, 2011a, pp. 66-80.
ZAMPRONHA, E., “Los lenguajes musicales y sus sistemas de afinación”, en Particella. Oviedo, Conservatório Profesional de Música de Oviedo, n. 6, 2011b, pp. 105-9.
ZAMPRONHA, E., “Música desplegada en el espacio”, en Espacio sonoro – revista de música actual, nº 27, 2012. Disponible en <http://espaciosonoro.tallersonoro.com/wp-content/uploads/2012/06/Música-Desplegada.pdf>, acceso en 22/02/2013.
Downloads
Published
How to Cite
Issue
Section
License
The authors retain copyright of articles and authorize CIF the first publication. They are free to share and redistribute the article without obtaining permission from the publisher as long as they give appropriate credit to the editor and the journal.
Self-archiving is allowed too. In fact, it is recommendable to deposit a PDF version of the paper in academic and/or institutional repositories.
It is recommended to include the DOI number.
This journal is licensed under a Creative Commons Attribution 4.0 International License
