This article explores the continuities and discontinuities of pre-Revolutionary intellectual traditions in 1920s Soviet culture and the Stalin-era cultural revolution. Through examination of the pre-revolutionary philosophical legacy underpinning Soviet musicological theory, I demonstrate that there are decisive features, such asSoviet Prometheanism, that characterize the musicology of the 1920s that both underline and differ from the pre-revolutionary philosophy of music and the musicology of the 1930s. I offer the basic outlines of aSoviet cultural theory of musicformulated by Russian music critic, historian, (...) composer and musicologist Boris Asafiev (1884–1949) in the 1920s. Explaining and describing what I mean by a particular cultural theory of music in the Soviet context forms the core issue of my article. (shrink)

A new semiotic model for the generation of musical texts is introduced in this article. The idea of a generative grammar is here understood in the sense of the generative trajectory, a model elaborated by A. J. Greimas. Four levels are chosen from his trajectory for the study of musical texts, namely, those of isotopies, spatial, temporal and actorial categories, modalities and semes or figures.As an illustration, the G minor Ballade by Fr. Chopin has been examined through all these levels. (...) The most formalized aspect of the analysis is constituted by what has been called a modal grammar of the piece (the term modality understood here in its philosophico-linguistic sense). The analysis tries to show how the musical form emerges from its inner processual traits, kinetic, epistemic and other aspects of a modal nature. It thus approaches for instance the problem of segmentation from the processual and dynamic nature of musical works. Moreover, the analysis is also an attempt to study the narrativity in music, since the narrative content of a piece like Chopin's G minor Ballade is clearly seen as the result of its modal processes. (shrink)

We disagree with Juslin & Vll's (J&V's) thesis that music-evoked emotions are indistinguishable from other emotions in both their nature and underlying mechanisms and that music just induces some emotions more frequently than others. Empirical evidence suggests that frequency differences reflect the specific nature of music-evoked emotions: aesthetic and reactive rather than utilitarian and proactive. Additional mechanisms and determinants are suggested as predictors of emotions triggered by music.

This paper presents a new line of inquiry into when and how music as a semiotic system was born. Ten principal expressive aspects of music retain specific structural patterns to signify a certain affective state, which distinguishes the tonal organization of music from the phonetic and prosodic organization of natural languages. Therefore, the question of music’s origin can be answered by establishing the point in human history, at which expressive aspects might have been abstracted from the instinct-driven primate calls and (...) used to express human psycho-emotional states. Etic analysis of acoustic parameters is the prime means of cross-comparison of the typical patterns of expression of the same basic emotions in human music versus animal vocal communication. A new method of such analysis is proposed here. Formation of such expressive aspects as meter, tempo, melodic intervals, and articulation can be explained by the influence of bipedal locomotion, breathing cycle, and heartbeat, long before Homo sapiens. However, two aspects, rhythm and melodic contour, most crucial for music as we know it, lack proxies in the Paleolithic lifestyle. The available ethnographic and developmental data leads one to believe that rhythmic and directional patterns of melody became involved in conveying emotion-related information as a result of frequent switching from one call-type to another within the limited repertory of calls adopted for ongoing caretaking of human youngsters and domestic animals. The efficacy of rhythm and pitch contour in affective communication must have been discovered spontaneously in new important cultural activities. The most likely scenario for music to have become fully semiotically functional is the formation of cross-specific communication between humans and domesticated animals during the Neolithic demographic explosion. The model of such communication can be found in the surviving tradition of Scandinavian pastoral music. This article discusses the most likely ways in which such music evolved. (shrink)

One hundred years on from the infamous premiere of The Rite of Spring, Stravinsky’s epoch-defining ballet continues to evoke controversy and contention in both musicological and performance circles. Even to call it a ballet is to overlook, or compound, its problematic identity. Throughout its life span, most audiences will have encountered, valorised and identified the work as a landmark of orchestral musical modernism heard primarily, perhaps even exclusively, in concert halls and on audio recordings with not a dancer, theatre stage (...) or set in sight. Still to this day it thus remains one of music’s more remarkable split personalities: bifurcated along formalist and contextualist lines by Stravinsky’s ret⁠rospective and opportunistic assertion that he had written “un oeuvre architectonique et non anecdotique.”. (shrink)

In a 1995 interview, contemporary American composer John Zorn stated: ‘I got involved in music because of fi lm […] There’s a lot of fi lm elements in my music’ (Duckworth, 1995, p. 451). Scholars and critics have since widely noted these cinematic elements, with emphasis being placed on Zorn’s genre of so-called ‘fi le card compositions’. Whilst these studies have primarily concentrated on how the arrangement of sound blocks – the disjointed segments of Zorn’s compositions – can be compared (...) to cinematic montage, this article instead focusses on how sound blocks suggest the visual aspects of cinema. To delve deeper into the visuo-cinematic qualities of Zorn’s fi le card compositions, an idealised cinematic listener will be constructed, aided by various psychological, semiotic, philosophical and fi lm theories. I will suggest that a listener occupying a hypnogogic state projects moving images, akin to those of cinema, onto what Bernard Lewin fi rst called a ‘dream screen’. These projections occur due to intertextual associations made between fi le card compositions and the artistic fi gures to whom they are dedicated. These images combine with the sounds that brought them into being to form an audio-visual diegesis, which can be considered a type of half-imagined fi lm. The cinematic listener then actively draws out of this diegesis a narrative, via the semi-conscious process Boris Eikhenbaum called ‘inner speech’. I will conclude by giving some broader justifi cation for the methodology that brought this cinematic listener into being and suggest how the cinematic listener may be further utilised to provide musical analyses for fi le card works. (shrink)

Taking the example of two 1960s popular spy films this paper explores how social semiotics can make a contribution to the analysis of film music. Followingother scholars who have sought to create inventories of sound meanings to help us break down the way that music communicates, this paper explores how wecan draw on the principles of Hallidayan functional grammar to present an inventory of meaning potentials in sound. This provides one useful way to describe thesemiotic resources available to composers to (...) allow them to communicate quite specific ideas, attitudes and identities through combinations of different sounds and sound qualities, by presenting them as systems of meaning rather than as lists of connotations. Here we apply this to the different uses of music and sound in Dr No and The Ipcress Files which allows us to show how we can reveal different ideologies of spying. (shrink)