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Paradigmatic Analysis
Paradigmatic analysis is the analysis of paradigms embedded in the text rather than of the surface structure (syntax) of the text which is termed syntagmatic analysis. Paradigmatic analysis often uses commutation tests, i.e. analysis by substituting words of the same type or class to calibrate shifts in connotation. Definition of terms In semiotic literary criticism, a syntagm (or syntagma) is a building block of a text into which meaning is encoded by the writer and decoded by the reader, recalling past experience and placing the message in its appropriate cultural context. Individual syntagms can be arranged together to form more complex syntagms: groups of sounds (and the letters to represent them) form words, groups of words form sentences, sentences form narratives, and so on. A list of syntagms of the same type is called a ''paradigm''. So, in English, the alphabet is the paradigm from which the syntagms of words are formed. The set of words collected together in a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Paradigm
In science and philosophy, a paradigm ( ) is a distinct set of concepts or thought patterns, including theories, research methods, postulates, and standards for what constitute legitimate contributions to a field. The word ''paradigm'' is Ancient Greek, Greek in origin, meaning "pattern". Etymology ''Paradigm'' comes from Greek παράδειγμα (''paradeigma''); "pattern, example, sample"; from the verb παραδείκνυμι (''paradeiknumi''); "exhibit, represent, expose"; and that from παρά (''para''); "beside, beyond"; and δείκνυμι (''deiknumi''); "to show, to point out". In classical (Greek-based) rhetoric, a paradeigma aims to provide an audience with an illustration of a similar occurrence. This illustration is not meant to take the audience to a conclusion; however, it is used to help guide them to get there. One way of how a ''paradeigma'' is meant to guide an audience would be exemplified by the role of a personal accountant. It is not the job of a p ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lexicon
A lexicon (plural: lexicons, rarely lexica) is the vocabulary of a language or branch of knowledge (such as nautical or medical). In linguistics, a lexicon is a language's inventory of lexemes. The word ''lexicon'' derives from Greek word (), neuter of () meaning 'of or for words'. Linguistic theories generally regard human languages as consisting of two parts: a lexicon, essentially a catalogue of a language's words (its wordstock); and a grammar, a system of rules which allow for the combination of those words into meaningful sentences. The lexicon is also thought to include bound morphemes, which cannot stand alone as words (such as most affixes). In some analyses, compound words and certain classes of idiomatic expressions, collocations and other phrasemes are also considered to be part of the lexicon. Dictionaries are lists of the lexicon, in alphabetical order, of a given language; usually, however, bound morphemes are not included. Size and organization Items ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Richard Middleton (musicologist)
Richard Middleton FBA is Emeritus Professor of Music at Newcastle University in Newcastle upon Tyne. He is also the founder and co-ordinating editor of the journal ''Popular Music''. Education Middleton studied at Clare College, Cambridge and at the University of York, where his PhD was supervised by Wilfrid Mellers. Career Middleton previously taught at the University of Birmingham and the Open University. He was appointed to his present position in 1998. In 2004, Professor Middleton was elected to a Fellowship by the British Academy. Middleton retired from his post at Newcastle in 2005. Bibliography Author *''Pop Music and the Blues: A Study of the Relationship and Its Significance''. London: Gollancz, 1972. . *''Studying Popular Music''. Philadelphia: Open University Press, 1990. . *''Voicing the Popular: On the Subjects of Popular Music''. London: Routledge, 2006. . Editor or co-editor *''Reading Pop''. Oxford University Press Oxford University Press (OUP) is the p ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Transformation (music)
In music, a transformation consists of any operation or process that may apply to a musical variable (usually a set or tone row in twelve tone music, or a melody or chord progression in tonal music), or rhythm in composition, performance, or analysis. Transformations include multiplication, rotation, permutation (i.e. transposition, inversion, and retrograde), prolation ( augmentation, diminution) and combinations thereof. Transformations may also be applied to simpler or more complex variables such as interval and spectrum or timbre. See also * Developing variation * Identity (music) * Operation (music) * Permutation (music) * Transformational theory Transformational theory is a branch of music theory developed by David Lewin in the 1980s, and formally introduced in his 1987 work ''Generalized Musical Intervals and Transformations''. The theory—which models Transformation (music), musical t ... References Musical techniques {{Music-theory-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Repetition (music)
Repetition is important in music, where sounds or sequences are often repeated. It may be called restatement, such as the restatement of a theme (music), theme. While it plays a role in all music, with noise and musical tones lying along a spectrum from irregular to frequency, periodic sounds, it is especially prominent in specific styles. Usage A literal repetition of a musical passage is often indicated by the use of a repeat sign, or the instructions da capo or dal segno. Theodor W. Adorno damned repetition and popular music as psychotic and infantile. In contrast, Richard Middleton (musicologist), Richard Middleton (1990) argues that "while repetition is a feature of ''all'' music, of any sort, a high level of repetition may be a specific mark of 'the popular'" and that this allows an "enabling" of "an inclusive rather than exclusive audience". "There is no universal norm or convention" for the amount or type of repetition; "all music contains repetition – but in di ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Equivalence Class (music)
In music theory, equivalence class is an Equality (mathematics), equality (Equals sign, =) or equivalence relation, equivalence between properties of set (music), sets (unordered) or twelve-tone rows (ordered sets). A relation rather than an operation, it may be contrasted with derivation (music), derivation.Schuijer (2008). ''Analyzing Atonal Music: Pitch-Class Set Theory and Its Contexts'', p.85. . "It is not surprising that music theorists have different concepts of equivalence [from each other]..." "Indeed, an informal notion of equivalence has always been part of music theory and analysis. Pitch class set theory, however, has adhered to formal definitions of equivalence." Traditionally, octave equivalency is assumed, while inversion (music), inversional, permutation (music), permutational, and Transposition (music)#Transpositional equivalency, transpositional equivalency may or may not be considered (sequence (music), sequences and modulation (music), modulations are techniqu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nicolas Ruwet
Nicolas Ruwet (31 December 1932 – 15 November 2001) was a French linguist, literary critic and musical analyst or Belgian birth. He was involved with the development of generative grammar,All: Obituary: Nicolas Ruwet (Thu. Nov. 15 2001), ''LINGUIST List 12.2879''. and made important early contributions to music semiology. Life and career Ruwet was born in Saive, on 31 December 1932. In his youth he studied |
Musical Analysis
Musical analysis is the study of musical structure in either compositions or performances. According to music theorist Ian Bent, music analysis "is the means of answering directly the question 'How does it work?'". The method employed to answer this question, and indeed exactly what is meant by the question, differs from analyst to analyst, and according to the purpose of the analysis. According to Bent, "its emergence as an approach and method can be traced back to the 1750s. However it existed as a scholarly tool, albeit an auxiliary one, from the Middle Ages onwards." The principle of analysis has been variously criticized, especially by composers, such as Edgard Varèse's claim that, "to explain by means of nalysisis to decompose, to mutilate the spirit of a work". Analyses Some analysts, such as Donald Tovey (whose '' Essays in Musical Analysis'' are among the most accessible musical analyses) have presented their analyses in prose. Others, such as Hans Keller (who d ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Audience
An audience is a group of people who participate in a show or encounter a work of art, literature (in which they are called "readers"), theatre, music (in which they are called "listeners"), video games (in which they are called "players"), or academics in any medium. Audience members participate in different ways in different kinds of art. Some events invite overt audience participation and others allow only modest clapping and criticism and reception. Media audience studies have become a recognized part of the curriculum. Audience theory offers scholarly insight into audiences in general. These insights shape our knowledge of just how audiences affect and are affected by different forms of art. The biggest art form is the mass media. Films, video games, radio shows, software (and hardware), and other formats are affected by the audience and its reviews and recommendations. In the age of easy internet participation and citizen journalism, professional creators share space, and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Denotation (semiotics)
In semiotics, denotation is the surface or the literal and figurative language, literal Meaning (semiotics), meaning, the definition most likely to appear in a dictionary. Discussion Drawing from the original word or definition proposed by Ferdinand de Saussure, Saussure (1857-1913), a sign (semiotics), sign has two parts: *as a ''signifier'', i.e. it will have a form that a person can see, touch, smell, and/or hear, and *as the ''signified'', i.e. it will represent an idea or mental construct of a thing rather than the thing itself. To transmit information, both the addresser and the addressee must use the same code (Semiotics), code, whether in the literal sense, e.g. Morse Code or in the form of a language. The denotative meaning of a signifier is intended to communicate the objective semantic content of the represented thing. So, in the case of a lexical (Semiotics), lexical word, say "book", the intention is to do no more than describe the physical object. Any other meanings ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jakobson's Functions Of Language
Roman Jakobson defined six functions of language (or communication functions), according to which an effective act of verbal communication can be described. Each of the functions has an associated factor. For this work, Jakobson was influenced by Karl Bühler's organon model, to which he added the poetic, phatic and metalingual functions. The six functions of language * The ''referential function'': corresponds to the factor of context and describes a situation, object or mental state. The descriptive statements of the referential function can consist of both definite descriptions and deictic words, e.g. "The autumn leaves have all fallen now." Similarly, the referential function is associated with an element whose true value is under questioning especially when the truth value is identical in both the real and assumptive universe. * The ''poetic function'': focuses on "the message for its own sake" (how the code is used) and is the operative function in poetry as well as sloga ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Roman Jakobson
Roman Osipovich Jakobson (, ; 18 July 1982) was a Russian linguist and literary theorist. A pioneer of structural linguistics, Jakobson was one of the most celebrated and influential linguists of the twentieth century. With Nikolai Trubetzkoy, he developed revolutionary new techniques for the analysis of linguistic sound systems, in effect founding the modern discipline of phonology. Jakobson went on to extend similar principles and techniques to the study of other aspects of language such as syntax, morphology and semantics. He made numerous contributions to Slavic linguistics, most notably two studies of Russian case and an analysis of the categories of the Russian verb. Drawing on insights from C. S. Peirce's semiotics, as well as from communication theory and cybernetics, he proposed methods for the investigation of poetry, music, and the visual arts including cinema. Through his decisive influence on Claude Lévi-Strauss and Roland Barthes, among others, Jakobson b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
