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Boulez, Music and Philosophy
In this book, Campbell explores the relationships of music, philosophy and intellectual culture in the work of Pierre Boulez.
History of Structuralism: The sign sets, 1967-present
Content Description #Includes bibliographical references and index.
Signs of Music
Music is said to be the most autonomous and least representative of all the arts. However, it reflects in many ways the realities around it and influences its social and cultural environments. Music is as much biology, gender, gesture - something intertextual, even transcendental. Musical signs can be studied throughout their history as well as musical semiotics with its own background. Composers from Chopin to Sibelius and authors from Nietzsche to Greimas and Barthes illustrate the avenues of this new discipline within semiotics and musicology.
Structuralist Poetics
Culler's most famous work, Structuralist Poetics has never been out of print since first publication in 1975, selling over 20,000 copies. It introduced a new way of studying literature by attempting to create a systematic account of the structure of literary works, rather than studying the meaning of the work. Culler's new preface answers some of the criticisms levelled at his approach and details how it is still as relevant today as when it was first published.
Crossing the Boundaries in Linguistics
It was in the course of 1980 that it dawned upon several friends and colleagues of Manfred Bierwisch that a half century had passed since his birth in 1930. Manfred's youthful appearance had prevented a timely appreciation of this fact, and these friends and co11eagues are, therefore, not at ali embarrassed to be presenting him, almost a year late, with a Festschrift which willleave a trace of this noteworthy occasion in the archives of linguistics. It should be realized, however, that the deIay would have easily extended to 1990 if alI those who had wanted to contribute to this book had in fact written their chapters. Under the pressure of actuality, several co11eagues who had genu ineIy ho...
The Song in the Story
The Song in the Story is the first full-length examination of lyric insertions in medieval French literature. Boulton's discussion of the function of the literary device is firmly placed in the context of contemporary rhetorical theory and the literary trends of the thirteenth and fourteenth centuries.
Musical Analyses and Musical Exegesis
Here translated for the first time, Jean-Jacques Nattiez's widely hailed comparative guide to the techniques of music analysis focuses on a single vivid passage from Wagner's Tristan and Isolde.
American Linguistics in Transition
This volume is devoted to a major chapter in the history of linguistics in the United States, the period from the 1930s to the 1980s, and focuses primarily on the transition from (post-Bloomfieldian) structural linguistics to early generative grammar. The first three chapters in the book discuss the rise of structuralism in the 1930s; the interplay between American and European structuralism; and the publication of Joos's Readings in Linguistics in 1957. Later chapters explore the beginnings of generative grammar and the reaction to it from structural linguists; how generativists made their ideas more widely known; the response to generativism in Europe; and the resistance to the new theory by leading structuralists, which continued into the 1980s. The final chapter demonstrates that contrary to what has often been claimed, generative grammarians were not in fact organizationally dominant in the field in the United States in the 1970s and 1980s.
Rītigaula
This book, authored by the late Princeton music scholar Harold Powers, discusses a single Indian rāga called Rītigaula. Rītigaula’s pitch structure, conventions surrounding its performance, and its treatment in historical Indian music treatises are comprehensively described. Powers’s unique approach to theorizing rāga examines rāga structure and meaning in this monograph too, from the perspective of musical communication and discourse. From within this perspective, Powers shares his thoughts about music’s connection to language, and the relationship between rāga expression and linguistic communication.
