AGAWU MUSIC AS DISCOURSE PDF

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As a global organisation, we, like many others, recognize the significant threat posed by the coronavirus. During this time, we have made some of our learning resources freely accessible. Our distribution centres are open and orders can be placed online. Do be advised that shipments may be delayed due to extra safety precautions implemented at our centres and delays with local shipping carriers.

Oxford Scholarship Online. Available in Oxford Scholarship Online - view abstracts and keywords at book and chapter level. The question of whether music has meaning has been the subject of sustained debate ever since music became a subject of academic inquiry.

Is music a language? Does it communicate specific ideas and emotions? What does music mean, and how does this meaning occur? Kofi Agawu's Music as Discourse has become a standard and definitive work in musical semiotics. Working at the nexus of musicology, ethnomusicology, and music philosophy and aesthetics, Agawu presents a synthetic and innovative approach to musical meaning which argues deftly for the thinking of music as a discourse in itself—composed not only of sequences of gestures, phrases, or progressions, but rather also of the very philosophical and linguistic props that enable the analytical formulations made about music as an object of study.

The book provides extensive demonstration of the pertinence of a semiological approach to understanding the fully-freighted language of romantic music, stresses the importance of a generative approach to tonal understanding, and provides further insight into the analogy between music and language.

Music as Discourse is an essential read for all who are interested in the theory, analysis and semiotics of music of the romantic period. Music as Language 2. Criteria for Analysis I 3. Criteria for Analysis II 4. Bridges to Free Composition 5. Liszt, Orpheus 7. Brahms, Intermezzo in E Minor, op. Mahler, Symphony no. Beethoven, String Quartet, op. Now, in Music as Discourse, he offers a focused study that shows semiotics in action, engaging with a familiar and cherished repertory in a way that provides valuable insights to both scholar and student.

These are splendid new analyses of important works. This book, with its lapidary clarity, its surprising insights, and its emphasis on musical meaning, is going to change all that. One finishes Agawu's book with new methods to probe music's unfathomable meanings, new ways to refashion the tools we already know, a conviction that the real value of analysis lies in the doing of it rather than the 'truth' it uncovers, and a desire to get down to work.

This elegant and rich book needs to be lived with and digested. Of how many analytical manuals can one say that? Oxford University Press is a department of the University of Oxford. It furthers the University's objective of excellence in research, scholarship, and education by publishing worldwide.

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Please contact our Customer Service Team if you have any questions. To purchase, visit your preferred ebook provider. Oxford Scholarship Online Available in Oxford Scholarship Online - view abstracts and keywords at book and chapter level. Music as Discourse Semiotic Adventures in Romantic Music Kofi Agawu Oxford Studies in Music Theory Demonstrates a possible interface between semiotics music theory Approaches the subject of musical meaning from within technical views of musical structure Accessible to readers with a less advanced background in music theory.

Also of Interest. A Geometry of Music Dmitri Tymoczko. Audacious Euphony Richard Cohn. In the Process of Becoming Janet Schmalfeldt. Songs in Motion Yonatan Malin. Music at Hand Jonathan De Souza. Performing Knowledge Daphne Leong. Organized Time Jason Yust.

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Music as Discourse: Semiotic Adventures in Romantic Music

The question of whether music has meaning has been the subject of sustained debate ever since music became a subject of academic inquiry. Is music a language? Does it communicate specific ideas and emotions? What does music mean, and how does this meaning manifest itself? Working at the nexus of musicology, ethnomusicology, and music philosophy and aesthetics, the book presents a synthetic and innovative approach to musical meaning which argues deftly for the thinking of music as a discourse in itself—composed not only of sequences of gestures, phrases, or progressions, but rather also of the Working at the nexus of musicology, ethnomusicology, and music philosophy and aesthetics, the book presents a synthetic and innovative approach to musical meaning which argues deftly for the thinking of music as a discourse in itself—composed not only of sequences of gestures, phrases, or progressions, but rather also of the very philosophical and linguistic props that enable the analytical formulations made about music as an object of study. The book provides demonstrations of the pertinence of a semiological approach to understanding the fully-freighted language of Romantic music, stresses the importance of a generative approach to tonal understanding, and provides further insight into the analogy between music and language.

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Music as Discourse

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