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OverviewUsing classical violin music as her principal laboratory, the author examines how a performance incorporates distinctive features not only of her work but of the performer as well - and how the listener goes about interpreting not only the composer's work and the performer's rendering of the work, but the performer's and listener's identities as well. A richly interdisciplinary approach to a very common, yet persistently mysterious, part of our lives. Full Product DetailsAuthor: Naomi CummingPublisher: Indiana University Press Imprint: Indiana University Press Dimensions: Width: 15.50cm , Height: 2.20cm , Length: 23.50cm Weight: 0.875kg ISBN: 9780253337542ISBN 10: 0253337542 Pages: 392 Publication Date: 22 January 2001 Audience: Professional and scholarly , Professional & Vocational Format: Hardback Publisher's Status: Active Availability: In Print  This item will be ordered in for you from one of our suppliers. Upon receipt, we will promptly dispatch it out to you. For in store availability, please contact us. Table of ContentsPreliminary Table of Contents: Introduction Musical Initiations Subjects and Subjectivity A Philosophical Outlook 1. Signs of Subjectivity Physical Disciplines and Signs A Semiotic View of Musical Subjectivity Expressive Individuation and Uncertainty 2. Listening Subjects and Semiotic Worlds The Uncertainties of Musical Signification Interntionality and Metaphor Subjects and First-person Authority Regaining an Interpretive I 3. Musical Signs Signs and Objects Questions and Typologies 4. Naming Qualities; Hearing Signs Qualities and Qualities-as-Signs Disciplinary Boundaries: How Does Semiotics Relate to Psychology? 5. Gesturing Gesture as Performance and Convention To Perform or to Dissimulate? Voice and Gesture as Virtualities 6. Framing Willfulness in Tonal Law Theorists: Giving Roles to Rules The Dialectics of Tonal Semiosis 7. Complex Syntheses Expressive Complexity and Musical Personae Modes of Synthesis 8. Culturally Embedded Signs Emergent Qualities Skeptical Issues 9. Values and Personal Categories Sounds and Sensuality Encounters Rehabilitating the Subject Appendix: Theorizing Generals Real or Nominal Rules? Finding Constancies, Explaining What One Hears, or Seeking Enlightenment?ReviewsSemioticians began by looking at literature but have gradually applied their techniques to other disciplines, including music. The late Naomi Cumming ... based this consideration of the sources of musical expression on her experiences as a performer--with interesting, if rarely surprising, results. Choice Enchanting. She is a graceful writer, who handles difficult technical issues here with a sure craftsmanship. While the technical literature ... is vast, labyrinthine, and controversial, her argument cuts to the bone, with a few trenchant musical examples. Thomas A. Sebeok Naomi Cumming combines a philosopher's rigor with a performer's sensitivity to interpretation, and her book promises to be a landmark synthesis of approaches to subjectivity and musical meaning. Among its virtues are a thoroughgoing exposition of Peircean theory as it can help address the philosophical issues of musical signification, from the vantage point of the musical subject as embodied, via musical gesture, in performance... Her work will go far in bridging the gap between music semiotics and philosophical aesthetics. Robert Hatten Semioticians began by looking at literature but have gradually applied their techniques to other disciplines, including music. The late Naomi Cumming, violinist and music theorist, based this consideration of the sources of musical expression on her experiences as a performer-with interesting, if rarely surprising, results. Cumming argues from the musical score and from the physical attributes of the performer toward a theory of musical analysis relying on C.S. Peirce's groundbreaking philosophy. It is worth noting, as musical theorists generally do not, that there is no such thing as analysis in music. There is only interpretation, because alternative conclusions about even the simplest music are inherent in its study. Total agreement concerning the meaning of any music is impossible. Although Cumming's arguments are on the whole reasonable, toward the end she veers off into a defense of some of the new musicology's more preposterous practitioners. Although the world of contemporary humanities scholarship is highly contentious, her book would have been better without the polemic. With appendix and notes, this volume is for upper-division undergraduates through professionals.F. Goossen, emeritus, University of Alabama, Choice, September 2001 Semioticians began by looking at literature but have gradually applied their techniques to other disciplines, including music. The late Naomi Cumming ... based this consideration of the sources of musical expression on her experiences as a performer--with interesting, if rarely surprising, results. Choice Enchanting. She is a graceful writer, who handles difficult technical issues here with a sure craftsmanship. While the technical literature ... is vast, labyrinthine, and controversial, her argument cuts to the bone, with a few trenchant musical examples. Thomas A. Sebeok Naomi Cumming combines a philosopher's rigor with a performer's sensitivity to interpretation, and her book promises to be a landmark synthesis of approaches to subjectivity and musical meaning. Among its virtues are a thoroughgoing exposition of Peircean theory as it can help address the philosophical issues of musical signification, from the vantage point of the musical subject as embodied, via musical gesture, in performance... Her work will go far in bridging the gap between music semiotics and philosophical aesthetics. Robert Hatten ""Semioticians began by looking at literature but have gradually applied their techniques to other disciplines, including music. The late Naomi Cumming ... based this consideration of the sources of musical expression on her experiences as a performer--with interesting, if rarely surprising, results."" Choice ""Enchanting. She is a graceful writer, who handles difficult technical issues here with a sure craftsmanship. While the technical literature ... is vast, labyrinthine, and controversial, her argument cuts to the bone, with a few trenchant musical examples."" Thomas A. Sebeok ""Naomi Cumming combines a philosopher's rigor with a performer's sensitivity to interpretation, and her book promises to be a landmark synthesis of approaches to subjectivity and musical meaning. Among its virtues are a thoroughgoing exposition of Peircean theory as it can help address the philosophical issues of musical signification, from the vantage point of the musical subject as embodied, via musical gesture, in performance... Her work will go far in bridging the gap between music semiotics and philosophical aesthetics."" Robert Hatten Author InformationNaomi Cumming was a fine violinist and music theorist. She published a host of journal articles and lectured internationally on the philosophy, psychology, and semiotics of music; her article on musical semiotics will appear in the Revised New Grove Dictionary of Music and Musicians. She was a Fulbright fellow at Columbia University, a research fellow in music theory at the Department of Philosophy of the University of Melbourne, and recipient of an award from the Society for Music Theory in 1998. Tab Content 6Author Website:Countries AvailableAll regions |
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