Rhythm and multimodal semiosis

van Leeuwen, T

Rhythm and multimodal semiosis

van Leeuwen, T

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Publisher:: Continuum International Publishing Group
Publication Type:: Chapter
Citation:: Semiotic margins: Meaning in multimodalities, 2011, 1, pp. 168 - 177
Issue Date:: 2011-01

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Field	Value	Language
dc.contributor.author	van Leeuwen, T https://orcid.org/0000-0003-2163-8700	en_US
dc.contributor.editor	Dreyfus, S	en_US
dc.contributor.editor	Hood, S	en_US
dc.contributor.editor	Stenglin, M	en_US
dc.date.issued	2011-01	en_US
dc.identifier.citation	Semiotic margins: Meaning in multimodalities, 2011, 1, pp. 168 - 177	en_US
dc.identifier.isbn	9781441173225	en_US
dc.identifier.uri	http://hdl.handle.net/10453/17890
dc.description.abstract	I once heard the jazz bassist and composer Marcus Miller explain how he composed the score for the film 'Siesta', in 1987, laying a bass line first, the using a synthesiser to build up the percussion, layer by layer. At the end of that process, he realised there was something missing. The rhythm was all too mechanical. So he engaged a drummer to play a single drum in the studio, on top of the tracks he has already laid. What next, he then asked himself. I like Herbie Hancocks chords, I'll put some of those in. It was at this point that I had a revelation. I had always seen harmony as the language of Western music, and harmonic structure as its basic sources of textual development, whether in Beethoven, Broadway or the Beatles. But to Marcus Miller chords were just some added spicing, some added colour. It dawned on me that in multimodal texts any semiotic mode can in principle either provide the basic structure of remain incidental, fragmented, providing, here and there, some added colour.	en_US
dc.publisher	Continuum International Publishing Group	en_US
dc.relation.ispartof	Semiotic margins: Meaning in multimodalities	en_US
dc.title	Rhythm and multimodal semiosis	en_US
dc.type	Chapter
utslib.location	London, UK	en_US
utslib.for	2002 Cultural Studies	en_US
utslib.citation.edition	1	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences/School of Education
pubs.organisational-group	/University of Technology Sydney/Strength - STEM Education Futures
utslib.copyright.status	closed_access
pubs.consider-herdc	true	en_US
pubs.edition	1	en_US
pubs.place-of-publication	London, UK	en_US

Abstract:

I once heard the jazz bassist and composer Marcus Miller explain how he composed the score for the film 'Siesta', in 1987, laying a bass line first, the using a synthesiser to build up the percussion, layer by layer. At the end of that process, he realised there was something missing. The rhythm was all too mechanical. So he engaged a drummer to play a single drum in the studio, on top of the tracks he has already laid. What next, he then asked himself. I like Herbie Hancocks chords, I'll put some of those in. It was at this point that I had a revelation. I had always seen harmony as the language of Western music, and harmonic structure as its basic sources of textual development, whether in Beethoven, Broadway or the Beatles. But to Marcus Miller chords were just some added spicing, some added colour. It dawned on me that in multimodal texts any semiotic mode can in principle either provide the basic structure of remain incidental, fragmented, providing, here and there, some added colour.

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http://hdl.handle.net/10453/17890