Mahler's Sixth Symphony: A Study in Musical SemioticsCambridge University Press, 2004 M03 11 - 192 pages The terms of structuralist and post-structuralist theory have been widely debated within the field of music analysis in recent years. However, very few analyses have attempted to address the repertoire of large orchestral works of the turn of the century - works which seem most obviously to escape the categories of conventional analysis. This study uses a semiotic theory of signification in order to investigate different types of musical communication. Musical meaning is defined on several levels from structures immanent to the work, through questions of tradition and genre, to consideration of the symphony as a narrative alongside other contemporary non-musical texts. Ideas from Eco, Barthes, and Derrida are deployed within the context of close analysis of the score in order to unite specifically analytical insights with cultural hermeneutics. |
Contents
Music theory and signification | 1 |
Motive as sign an analysis of the Andante | 18 |
Coding of musical form the Finale | 64 |
Genre and presupposition in the Mahlerian scherzo | 91 |
Musical narrative and the suicide of the symphony | 133 |
Coda | 166 |
| 168 | |
| 173 | |
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Common terms and phrases
1st subject 2nd subject Adorno anacrusis analytical Andante archetype Barthes bass chapter chord chromatic cliché closure coda coherence column complex concept context contrapuntal contrast cultural Dance of Death defined described discussion E major example exposition extramusical fact Fifth figure Finale Floros genre gesture harmonic identified idiolect instance interpretation intertextual interval intervallic kitsch ländler literary Mahler's Mahlerian major major/minor triad material meaning melodic middleground minor motif motivic code movement musical narrative musical text narration narrative code Nattiez neighbour-note neutral level Newcomb nineteenth-century novel occurs opening organisation paradigm paradigmatic passage patterns programme music Ratz recapitulation Redlich reference referential scope rhythm rhythmic s-code Schenkerian Scherzo second subject section bars semiosis semiotic sense signifying Sixth Symphony social sonata form sort specific Sponheuer structure subject group suggests techniques texture thematic theme theory tion tonal Trio sections units voice-leading waltz Webster Goodwin whilst