Interpersonal Semiotics of Music after Several Decades

Jarmila Doubravová

doi:10.18290/rh247212sp.2

Data publikacji : 2024-08-23

Tom 72 Nr 12 Zeszyt specjalny (2024)

Interpersonal Semiotics of Music after Several Decades

Jarmila Doubravová

https://orcid.org/0009-0007-4182-7740

DOI: https://doi.org/10.18290/rh247212sp.2

Abstrakt

Interpersonal semiotics of music belongs to the sphere of musical anthropology. It is based on introspection and experiments with different types of music and different groups of respondents. Its theoretical principle represents the theory of small social group and system of interpersonal tendencies by Knobloch and Knoblochová (1999). This is used in relation of I/Other in which ‘Other‘ means music. Some works of B. Bartók, A. Berg, L. Janáček, B. Martinů, J. Sibelius, I. Stravinsky and J. Suk were analysed and described, among others, on this ground, i.e. from the point view of my interpersonal testimony. The interpersonal analyses of Czech music of the 1950s by several groups of respondents confirmed that such testimonies are distinguishable. The presented survey represents results of long work as part of my diverse semiotic and aesthetic activities.

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Utwór dostępny jest na licencji Creative Commons Uznanie autorstwa – Użycie niekomercyjne – Bez utworów zależnych 4.0 Międzynarodowe.

Bibliografia

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Doubravová, Jarmila. 1984. “Musical Forms as Models of Communication.” In Semiot¬ics Unfolding, Approaches to Semiotics 68, edited by Tasso Borbé, 1613–18. Berlin: Mouton.

Doubravová, Jarmila. 1991. “En cherchant le moi perdu.” Actes du colloque Martinů-Brno 13–14:24–35.

Doubravová, Jarmila. 1994. “Koncepce času v díle M. Kabeláče.” Opus musicum 26 (4): 110–14.

Doubravová, Jarmila. 1995. “Glagolska omša L. Janáčka a Žalmová symfonie I. Stravinského.” Slovenská hudba 21 (1): 54–61.

Doubravová, Jarmila. 1995. “The Symbol of the Tree in Musical Jugendstil.” In Musical Signification. Essay in the Semiotic Theory and Analysis of Music, edited by Eero Tarasti, 565–74. Berlin: Mouton de Gruyter.

Doubravová, Jarmila. 1996. “The Interpersonal Analysis of Music.” Contemporary Music Review 16 (20): 311–23.

Doubravová, Jarmila. 1996. “Analysis and Fantasy from the Viewpoint of the Interpersonal Hypothesis of Music.” Musical Semiotics in Growth, edited by Eero Tarasti, 285–94. Imatra: International Semiotics Institute; Bloomington: Indiana University Press.

Doubravová, Jarmila. 1998. “Janáčkova III. sonata pro housle a klavír.” Opus musicum 30 (1): 10–18.

Doubravová, Jarmila. 2002. “Music of the 50s in Experiments.” European Journal for Se¬miotic Studies 14 (1–2): 189–96.

Doubravová, Jarmila. 2007. “‘I/Other’ Oppositions in Music, Aesthetics and Semiotics.” In Conver¬gences and Divergences of Existential Semiotics, edited by Július Fujak, 77–92. Nitra: Institute for Literary and Artistic Communication, Constantine the Philosopher Uni¬versity.

Doubravová, Jarmila. 2014. The Hidden Unity. An Experimental View on Aesthetics and Semiotics of Music in the Czech Milieu. Frankfurt: Peter Lang.

Doubravová, Jarmila, and Anna Sochorová. 2005. “Interpersonal Analysis in GUHA Method.” MINT 11:15–30.

Hájek, Petr, Tomáš Havránek, and Metoděj Chytil. 1983. Metoda GUHA: automatická tvorba hypotéz [The GUHA Method: the Automatic Creation of Hypotheses]. Praha: Academia.

Knobloch, Ferdinand. 1998. “Musical Experience as Interpersonal Process: Revisited.” Con¬tem¬porary Music Review 17 (2): 59–72.

Knobloch, Ferdinand, Hana Junová, Jiří Juna, and Zdeněk Koutský. 1968. “On an Interpersonal Hypothesis of the Semiotics of Music.” Kybernetika 4 (4): 364–82.

Knobloch, Ferdinand, and Jiřina Knoblochová. 1999. Integrovaná psychoterapie v akci. Praha: Grada.

Knobloch, Fedinand, Milan Poštolka, and Jiří Srnec. 1965. “Hudební sémantika z interperso¬ná¬lního hlediska.” Hudební věda 2 (2): 271–77.