By Ole Kühl
Song bargains a brand new perception into human cognition. The musical play with sounds in time, within which we percentage emotions, gestures and narratives, has involved humans from all occasions and cultures.
the writer reports this semiotic habit within the mild of study from a few assets. Being an analytical examine, the amount combines proof from neurobiology, developmental psychology and cognitive technological know-how. It goals to bridge the space among tune as an empirical item on the planet and tune as lived adventure. this can be the semantic element of track: how can whatever like an auditory movement of dependent sound evoke any such robust response within the listener?
The e-book is in components. within the first half, the organic foundations of track and their cognitive manifestations are thought of with a purpose to determine a foundation for talking of track in widely used, cross-cultural phrases. the second one half develops the semantic element of track as an embodied, emotively grounded and cognitively established expression of human event.
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Extra info for Musical Semantics
As one who has had the good fortune to perform the music of these composers and to work closely with them, I have found that deeper knowledge of one repertoire has without exception led to a more subtle understanding and appreciation of the others. Of all the first-generation spectral composers, Dufourt may be the most engaged with the music of the past, as a philosopher, a theorist, a musicologist, and a once practicing pianist who remains passionate about the nineteenth-century repertoire. Despite the fact that many of his writings were seminal in the dissemination and early explication of the spectral attitude, he has remained wary of theories evoked to rationalize aesthetic decisions.
This Romantic provenance leads to the work of Messiaen, the direct heir to Debussy. Debussy’s influence on Messiaen is well documented. Messiaen referred to the years of World War I (1914–1918) as a formative period in which he realized his calling as a composer (Hill and Simeone, 2007: 12). During this time, while he was just a child, he pored over the operas of Gluck, Mozart, Berlioz, and Wagner. Yet the music of Debussy held the greatest significance for him. He treasured his scores for Estampes (Samuel, 1967: 123) and Pelléas et Mélisande, the latter given to him by his piano teacher Jean de Gibon (1873–1952).
30 The Sp e c tr a l Pi ano The Spectral Piano explores the development of a compositional attitude in relation to a concise body of what can be considered specifically spectral piano music written over nearly forty years, a timespan roughly bordered by Murail’s prescient miniature Comme un oeil suspendu et poli par le songe … (1967) and Fineberg’s solo Grisaille (2012), as well as piano concerti by Murail and Dufourt (Le désenchantement du monde and On the Wings of the Morning, both premiered in 2013).