Music as Discourse

van Leeuwen, T

Music as Discourse

van Leeuwen, T

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Publisher:: Stauffenburg Verlag
Publication Type:: Chapter
Citation:: Discourse, Politics, Identity, 2010, 1, pp. 221 - 229
Issue Date:: 2010-01

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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	de Cilla, R	en_US
dc.contributor.editor	Gruber, H	en_US
dc.contributor.editor	Krzynanowski, M	en_US
dc.contributor.editor	Menz, F	en_US
dc.date.issued	2010-01	en_US
dc.identifier.citation	Discourse, Politics, Identity, 2010, 1, pp. 221 - 229	en_US
dc.identifier.isbn	978-3-86057-669-4	en_US
dc.identifier.uri	http://hdl.handle.net/10453/17891
dc.description.abstract	Linguistically inspired approaches to the semiotics of music have generally described music as an abstract system of tonal and temporal relations, 'Music, by itself, signifies nothing', Nattiez (1971: 8), echoing Stravinsky's [1936] categorical denial of musical meaning. Such views aptly describe a particular early 20th century formalist approach to music.	en_US
dc.publisher	Stauffenburg Verlag	en_US
dc.relation.ispartof	Discourse, Politics, Identity	en_US
dc.title	Music as Discourse	en_US
dc.type	Chapter
utslib.location	Tubingen	en_US
utslib.for	200204 Cultural Theory	en_US
utslib.citation.edition	1	en_US
dc.location.activity	ISI000249870600349
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	false	en_US
pubs.edition	1	en_US
pubs.place-of-publication	Tubingen	en_US

Abstract:

Linguistically inspired approaches to the semiotics of music have generally described music as an abstract system of tonal and temporal relations, 'Music, by itself, signifies nothing', Nattiez (1971: 8), echoing Stravinsky's [1936] categorical denial of musical meaning. Such views aptly describe a particular early 20th century formalist approach to music.

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http://hdl.handle.net/10453/17891