ABSTRACT

The Routledge Handbook of Music Signification captures the richness and complexity of the field, presenting 30 essays by recognized international experts that reflect current interdisciplinary and cross-disciplinary approaches to the subject.

Examinations of music signification have been an essential component in thinking about music for millennia, but it is only in the last few decades that music signification has been established as an independent area of study. During this time, the field has grown exponentially, incorporating a vast array of methodologies that seek to ground how music means and to explore what it may mean. Research in music signification typically embraces concepts and practices imported from semiotics, literary criticism, linguistics, the visual arts, philosophy, sociology, history, and psychology, among others. By bringing together such approaches in transparent groupings that reflect the various contexts in which music is created and experienced, and by encouraging critical dialogues, this volume provides an authoritative survey of the discipline and a significant advance in inquiries into music signification.

This book addresses a wide array of readers, from scholars who specialize in this and related areas, to the general reader who is curious to learn more about the ways in which music makes sense.

chapter |10 pages

Introduction

part I|44 pages

Music signification and philosophy

chapter 1|11 pages

“Musik ist das nicht”

On Romantic incomprehensibility in Chopin

chapter 2|9 pages

From semio-ethics to a semiotics of speech in music and musicology

Theoretical (and Utopian) projections 1

chapter 3|11 pages

Music and reality

chapter 4|11 pages

From Ursatz to Urzemic

Avenues for theories and analyses of music signification

part II|44 pages

Music signification and semiotics

chapter 5|10 pages

The musical signifier

chapter 7|11 pages

Britten and Stravinsky’s neoclassical operas

Signs, signification, and subjectivity

part III|66 pages

Music signification and topic theory

chapter 10|12 pages

“Mad day” and the “march of Bacchus”

Figaro in Mahler’s Third Symphony

chapter 12|12 pages

She spins and she sighs

The spinning-wheel topic and the lamentation of the romantic female

chapter 13|11 pages

Charles Griffes’s Xanadu

A musical garden of opposites

part IV|42 pages

Music signification and narrative

chapter 14|10 pages

Music narrative

Theory, context, subjectivity

chapter 17|10 pages

From music signification to musical narrativity

Concepts and analyses

part V|58 pages

Music signification and society

chapter 19|9 pages

Multimodal reinforcement and worlds of sense

A political approach to musical emotions

chapter 20|12 pages

Reading meaning in and out of music from Theresienstadt

The case of Pavel Haas

chapter 21|10 pages

FKA twigs and popular music signification

The challenge of fluid clarity

chapter 22|11 pages

Lost innocence

Signifying East, signifying West

part VI|32 pages

Music signification and emotion, cognition, and embodiment

chapter 24|8 pages

Music as experience

Musical sense-making between step-by-step processing and synoptic overview

chapter 25|12 pages

Melody as representation

part VII|24 pages

Music signification and education

part VIII|38 pages

Music signification and intermediality

chapter 28|10 pages

The operatic principle

Negotiating contradictory demands of signification

chapter 30|14 pages

Musical ekphrasis

The evolution of the concept and the breadth of its application