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Dílo Johanna Sebastiana Bacha v sémiotické perspektivě
JAROLÍMOVÁ, Jana
This dissertation deals with the semiotic potential of J.S. Bach's work. The topic follows on from the diploma thesis Music as a sign and the author's pedagogical musical practice. The first part of the thesis is focused on the semiotic nature of the musical piece and its communication function with reference to the semiotic art theory of Josef Zverina. It is focused on the characteristics of the artistic sign, the sign functions, and above all to the subjects appearing in semiotic musical communication: the creator, the perceiver, and the performer. The aim of the first part is to characterize key semiotic musical concepts for the next parts of the thesis and also to evaluate the contribution of Zverina's concept to musical semiotics. The second part of the thesis is focused on the most used semiotic triad of icons - index - symbol in the concept of Ch. S. Peirce. As part of the iconicity of the musical sign, attention is paid to musical notation and its semiotic marking. In the music index, a large space is devoted to affect theory and the semiotic insight of musical emotions. The musical symbol is clarified in Bach's theological utterance and the analysis of symbolically rich places in his pieces. The aim of the second part is to link Peirce's sign triad with specific musical examples and to find out how these types of signs function in the musical discourse. The third part of the thesis is focused on the claim that Bach's musical artwork can be related to Leibniz's monadology. The goal is to clarify what analogies and differences result from this interdependence. The conclusion of the thesis contains an overlap into the current problems of artificial intelligence, which influences musical semiotics, as well as a summary of the contribution of this thesis.
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The theory of musical sign in peircean perspective
Budilová, Kristýna ; Karľa, Michal (advisor) ; Švantner, Martin (referee)
In this diploma thesis I deal with the issue of a musical sign. My goal is to introduce theory of musical sign, which would primarily address the question of its object. It seems that the object of the musical representation is the most problematic part of this thesis. I have based my arguments on theories of Eduard Hanslick, Susanne Langer and Felicia Kruse. Also, the emotions are heavily connected to this question. I attempt to find out if emotions may be the actual object of musical sign and what should its character be. I do so through a critical assesement of the above mentioned theories. The hypotethical outcome of this thesis such theory of musical sign which would address the dilema of musical emotions but also a paradox of composer - listener part in musical representation.
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The theory of musical sign in peircean perspective
Budilová, Kristýna ; Karľa, Michal (advisor) ; Švantner, Martin (referee)
In this diploma thesis I deal with the issue of a musical sign. My goal is to introduce theory of musical sign, which would primarily address the question of its object. It seems that the object of the musical representation is the most problematic part of this thesis. I have based my arguments on theories of Eduard Hanslick, Susanne Langer and Felicia Kruse. Also, the emotions are heavily connected to this question. I attempt to find out if emotions may be the actual object of musical sign and what should its character be. I do so through a critical assesement of the above mentioned theories. The hypotethical outcome of this thesis such theory of musical sign which would address the dilema of musical emotions but also a paradox of composer - listener part in musical representation.
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