This article aims to contribute to the understanding of the functions of music in stores and similar semi-public settings through a critical discourse analysis of the music in Abercrombie & Fitch. This is an important field of study, which can arguably only grow in significance. Semi-public commercial places are increasingly struggling to create a strong and appealing image or brand. A range of challenges facing the retail sector lay down the premises for such a struggle: a retail market ever more (...) competitive, parity products en masse, increased sales via the Internet, time-pressured consumers and, currently, declining sales. For creating and preserving a strong brand, music can play a decisive role in combination with other supplementary aspects of store design such as scents, interior and décor. The article examines the following questions which are concerned with the aesthesis or perception of music rather than with its production or construction : What are the defining structural and semiotic characteristics of the in-store music in A&F? In what way does the music combine with other semiotic resources on display in the store? How might the semiotic resources affect experiences and interactions among consumers and store assistants? Inspired by Norman Fairclough's model for critical discourse analysis and based on exploratory and open-ended observations in A&F stores in London and Copenhagen during 2011, the article begins with a text analysis and then proceeds to relevant dimensions of processing analysis and social analysis. In particular, three functions of the music in A&F are discussed: an ‘architectural function’, a ‘psychobiological function’ and a ‘knowledge activation function’. (shrink)

Recent experimental psychological research on visual perception, auditory perception, and cross-modal perception has shed light on how these processes differ, and how the relations between visual and auditory stimuli shade our understanding of the events perceived. This work offers a possible way into considering the question of how music and dance “go together” or not, and particularly may shed light on the unusual twentieth-century human behavior of NOT having music and dance “go together.” Our paper presents relevant research in perception, (...) examines factors contributing to the separation of perceptual modalities that has often appeared in twentieth-century dance, and discusses the separation in terms of the specific behaviors of dancing and looking at dance. (shrink)

This essay is an attempt to understand the reasons for the current crisis of musical aesthetics. It examines the function of this discipline as the mediator between philosophy and musicology, it inquires into its connections with the ideals of autonomy, beauty and free subjectivity. During the 20th Century, major changes in society and their communication forms happened; anthropology and semiotics began to compete with aesthetics in explaining musical facts. The last paragraphs test the chances of resistance of musical aesthetics ; (...) musical meaning appears to be the only question which endured in spite of the considerable fragmentation and loss of profile of musical experience. (shrink)

In this paper I will address some theories of Roman Ingarden and Walter Benjamin in the light of the new reproductive technologies for streaming music. As to Ingarden's theory I argue that, in the case I am bringing into investigation, streaming music experience can bring new light on the problem of the identity of the musical work by creating a continuum in a sequence of performances, and such continuum may account for a sort of ‘fluid’ cross-identity of the music piece (...) variously performed. I also argue that the lack of ‘aura’, in this case, does not devalue the music piece and nevertheless allows for a notable aesthetic fruition. (shrink)

Fugue and chaos are used in their contemporary meaning. Elements of the fugue, albeit a ‎small number of universals, will be demonstrated in the area of visual and verbal colors. ‎Chaos dominates the internet, fashion, and everyday life. The visual and verbal colors are ‎differentiated and their communicative potential is indicated alongside the diachronic changes. The prototypes of colors are the interface between visual and verbal colors.‎.