Skip to content
Licensed Unlicensed Requires Authentication Published by De Gruyter Mouton August 19, 2020

Another Approach to Musical Interpretation

Musical gesture in the perspective of Symbol Interaction Theory

Hao Ding
From the journal Chinese Semiotic Studies

Abstract

Music is neither a construction of pitches nor a linear arrangement of vocal parts, but rather an energetic shaping through time that integrates articulation, harmony, melody, and rhythm. Music expresses a kind of gesture in the dimension of sounds. In most cases, musical expressions, compared to linguistic expressions, are more like a state of motion or a behavior of sounds originating from physical sensations. Musical gesture can interpret the emotional expression and meaning of music from a perspective that is closer to the nature of music. Such an interpretation is not constrained by the traditional analysis of form and content, self-discipline and heteronomy, subjectivity and objectivity. It is more about how to stimulate the sensory systems to join in and understand the behavior and contents of music expressions in order to synthesize the meaning of music in different dimensions.

References

Christensen, Thomas (ed.) 2002. The Cambridge history of Western music theory Cambridge University Press.Search in Google Scholar

Dahlhaus, Carl. 1977. Grundlagen der Musikgeschichte Cologne: Laaber-Verlag.Search in Google Scholar

Gritten, Anthony (ed.). 2006. Music and gesture. London: Ashgate Publishing.Search in Google Scholar

Hatten, Robert S. 2004. Interpreting musical gestures, topics, and tropes: Mozart, Beethoven, Schubert. Bloomington, IN: Indiana University Press.Search in Google Scholar

Láng, Paul Henry. 1941. Music in Western civilization New York: WW Norton & Company.Search in Google Scholar

Lawrence, Kramer. 2003. Musicology and meaning. Musical Times 144(1883). 6–12.Search in Google Scholar

McClary, Susan. 1993. Reshaping a discipline: Musicology and feminism in the 1990s’. Feminist Studies 19(2). 399–423.Search in Google Scholar

McCreless, Patrick. 2002. Music and rhetoric. In Thomas Christensen (ed.), The Cambridge history of Western music theory 847–879. Cambridge, UK: Cambridge University Press.Search in Google Scholar

Mead, Andrew. 1999. Bodily hearing: Physiological metaphors and musical understanding. Journal of Music Theory 43(1). 1–19.Search in Google Scholar

Mead, George Herbert. 1962. Mind, self, and society. Chicago: The University of Chicago Press.Search in Google Scholar

Rosen, Charles. 1997. The classical style: Haydn, Mozart, Beethoven New York, NY. WW Norton & Company.Search in Google Scholar

Rouse Joseph. 1986. Merleau-Ponty and the existential conception of science. Synthese 66(2). 249–272.Search in Google Scholar

Tarasti, Eero. 1994. A theory of musical semiotics Bloomington, IN: Indiana University Press.Search in Google Scholar

Polyakov, Mark Yakovlevich (ed.), Tong Jing-han (trans.) 1994. Structure semiotics: Methodology system and controversy BeiJing: Culture and Art Press.Search in Google Scholar

Published Online: 2020-08-19
Published in Print: 2020-08-26

© 2020 Walter de Gruyter GmbH, Berlin/Boston