Musical Semiotics: an interdisciplinary aspect
DOI:
https://doi.org/10.28925/2518-766X.2021.68Keywords:
semiotics, semiosis, sign interpretation; communication.Abstract
Due to the relevance of the process of updating the modern educational system of Ukraine, especially its aesthetic field, attention is drawn to the problem of the qualitative transformation of music and pedagogical education. The introduction of a semiotic component into the process of preparing future teachers of musical disciplines is intended to enrich its analytical focus, both in theoretical and practical formats. This practice looks promising in the training of music teachers and music performers. The purpose of this article is the requirement to study the essential features of the “semiotics” concept in an interdisciplinary context, that is, from a philosophical, philological, cultural and art criticism position with their further correlation with the characteristic features of the “musical semiotic” concept. As a result of the analysis of various literary sources, setting out the provisions of the concepts by scientists who are influential in the field of semiotic theory in the above-mentioned areas, single characteristic features of the “semiotics” concept have been
identified. In the process of correlating these essential features of semiotics with the concept of “musical semiotics”, it is concluded that they fully coincide in the definition of both phenomena. But at the same time, based on the specifics of music art, special characteristics of musical semiotics are also revealed. First of all, these include the special place of the artistic image in the semiotic analytical process, as well as the distinction between the concepts of “language” (“musical language”) and “utterance” (“musical utterance”), rather than the more traditional holistic analysis of musical language. It is necessary to build a further study of musical semiotics and actively implement its capabilities in the process of training musicians-teachers and performers with these features in mind.
Downloads
References
Bonfeld, M. Sh. (2006). Muzyka: Yazyk. Rech. Myshlenie. Opyt sistemnogo issledovaniia iskusstva [Music: Language. Speech. Thinking. The experience of a Systematic Study of Music Art]. St. Petersburg: Kompozytor*Sankt-Peterburg, 648 (in Russian).
Daniel, S. (1990). Iskusstvo videt: O tvorcheskikh sposobnostiakh vospriiatiia, o yazyke linii i krasok i o vospitanii zritelia [The Art of Seeing: On the creative abilities of perception, on the language of lines and colors, and on educating the view]. Leningrad: Iskusstvo, 223 (in Russian).
Karmin, A., Novikova, E. (2004). Kulturologiia [Culturology]. St. Petersburg: Piter, 464 (in Russian).
Lukianova, N. (2011). Znachenie idei Ch. S. Pirsa dlia filosofii kommunikatsii [The Value of C. S. Pierce’s Ideas for the Philosophy of Communication]. Izvestiia Tomskogo politekhnicheskogo universiteta, 319, 6, 82–88 (in Russian).
Lutero, T. (2015) O kontseptsii Umberto Eko i yego vklad v semiologicheskie issledovaniia [About the Concept of Umberto Eco and His Contribution to Semiological Research]. Proseedings of the Yazyk i kultura: XVIII Mezhdunarodnaia nauchno-practicheskaia konferentsiia (Russia, Novosibirsk), Novosibirsk: TSRNS, 129–133 (in Russian).
Matvieieva, L. (2005). Kulturolohiia [Culturology]. Kyiv: Lybid, 512 (in Ukrainian).
Morris, Ch. (1983). Osnovaniia teorii znakov [Foundations of the Theory of Signs]. Semiotika, Moscow: Raduga, pp. 37–89 (in Russian).
Podolska, S., Lykhvar, V. & Ivanova, K. (2005) Kulturolohiia, Kyiv: Tsentr navchalnoi literatury, 392 (in Ukrainian).
Pocheptsov, G. (2001). Teoriia kommunikatsii [Communication Theory]. Moscow: Refl-buk, Kiev: Vakler, 652 (in Russian).
Sossiur, F. de (1977). Kurs obshchei lingvistiki [General Linguistics Course]. Trudy po yazykoznaniiu, Moscow: Progress, 31–269 (in Russian).
Stepanov, Yu. (1983). V mire semiotiki [In the World of Semiotics]. Semiotika, Moscow: Raduga, 5–36 (in Russian).
Schastlivtseva, E. (2011). Problema ponimaniia i znakovaia kontseptsiia Gustava Shpeta [The Problem of Understanding and the Iconic Concept of Gustav Shpet]. Vestnik Viatskogo gosudarstvennogo universiteta, No. 1(4), 34–41 (in Russian).
Uspenskii, B. (1995) Semiotika iskusstva [Semiotics of Art]. Moscow: Shkola «Yazyki russkoi kultury», 360 (in Russian).
Ilichev, L., Fedoseev, P., Kovalev, S. & Panov, V. (ed.) (1983). Filosofskii entsiklopedicheskii slovar, Moscow: Sovetskaia Entsiklopediia, 840 (in Russian).
Fynn, V. (1983). Semiotika [Semiotics]. Filosofskii entsiklopedicheskii slovar [Philosophical Encyclopedic Dictionary]. Moscow: Sovetskaia Entsiklopediia, 601–602 (in Russian).
Kholopova, V. (2000). Muzyka kak vid iskusstva [Music as an Art Form]. St. Petersburg: Lan publishing, 320 (in Russian).
Shyp, S. (2002). Znakova funktsiia ta movna organizatsiia muzychnoho myslennia [Sign Function and Language Organization of Musical Thinking]. PhD thesis, Kyiv: Natsionalna muzychna akademiia Ukrainy im. P. Chaikovskoho, 34 (in Ukrainian).
Koshelev, A. (compiler) (1994). Yu. M. Lotman i tartusko-moskovskaia semioticheskaia shkola [Yu. M. Lotman and the Tartu-Moscow Semiotic School]. Moscow: Gnozis, 560 (in Russian).
Yakobson, R. (1983). V poiskakh sushchnosti yazyka [In Search of the Essence of Language]. Semiotika, Moscow: Raduga, 102–117 (in Russian).
