Making sense of music

Sommaire

Introduction
Mark Reybrouck and Costantino Maeder—Making sense of music 7
1- Classical music 13
James William Sobaskie—Allusion as premise. Two mélodies of Fauré 15
Tijana Popović Mladjenović—Structure, sense, and meaning of Debussy's La Puertadel Vino. Interpreting the self through music 27
Rui Magno Pinto—The Portuguese symphonic poem (1884–1909) 41
Jean Marie Hellner—Robert Schumann's Drei Romanzen, op. 28. An Entwicklungsroman63
Matteo Giuggioli—A grammar of pathos. Fandango as a topos in Boccherini’s chambermusic 77
Małgorzata Gamrat—Between the sound and the word: methodological challenges inthe analysis of Liszt’s piano transcriptions of his own Lieder 89
Francesco Galofaro—The different musical semiotic systems in Domenico Zipoli’sSonate d’Intavolatura per Organo (1716) 105
Damjana Bratuž—Bartók’s improvisations for piano. A musical frontier 115
Julie Walker—La Polonaise op. 53 comme manifeste du dernier style de Chopin.Contexte et analyse narrative 127
2- Contemporary classical music 137
Luciano de Freitas Camargo—The zavod topic 139
Justyna Humięcka-Jakubowska—Musical representations in the context of music informationretrieval and some ideas of the Darmstadt school composers 153
Yves Knockaert—The meaning of repetition in Wolfgang Rihm’s music of the 1980s167
3- Folk and ethno 179
Julia Shpinitskaya—The universe of sound. A comparative study of the vibrationsound in cultural traditions: variations without theme 181
Heloísa de A. Duarte Valente—"Una musica dolce suonava…" Memory and nomadismin the Italian-Brazilian song 195
Ricardo Nogueira De Castro Monteiro—A semiotic approach to Native-Brazilianmusic. Challenges and possible contributions 205
4- Opera, songs 219
Jean-Marie Jacono—Sémiotique, interprétation et mise en scène de l’opéra 221
Johan Wijnants—Musical signification in (the first decade of) opera 231
Paolo Rosato—Sense-making in opera: a stratified dialectic among linguistic, perceptive,and cognitive processes. Some examples from Verdi’s works 241
Icíar Nadal García—An analysis of the ironies and other comical resources in theGianni Schicchi opera of G. Puccini 253
5- Theory 265
Konstantin Zenkin—Composition technique among the semiotic systems of a pieceof music 267
Robert Michael Weiß—Musical clock face value. Geometrical metaphors for musicalproperties 277
Stefano Jacoviello—It is a matter of style. Language, grammar, style and meaningbetween semiotics and musicology 291
Panu Heimonen—From a conversational point of view. Enhancing music analyticmeaning 303
6- Education 315
Alessia R. Vitale—The semiotics of gestures in learning how to sing. Dynamics andprospects 317
May Kokkidou & Christina Tsigka—In search of musical meaning. Looking foranswers by the standpoint of music education 329
Mary Dawood—The Cartons Piano at the national library of France. Rediscoveringforgotten music 343
7- Transmediality 353
Kevin Clifton—Sound and semiotics in Hitchcock’s coming attraction: locating andunraveling meaning in Rope’s movie trailer 355
Zhenglan Lu—Transsemiosic paradox in film music. Red music in chinese films onthe cultural revolution 363
Alessandro Bratus—More real than the real thing. The construction of authenticity inpopular music recordings and audiovisual texts 373
Nicholas P. McKay—Stravinsky’s opera in a postmodern age. An intermedialsemiotic reading 385
Daniel Nagy—Myth creation and intertextuality after Wagner. The Ring cycle andThomas Mann’s Joseph and his brothers 401