1.5. Generative Grammar, Semiosis and Emotional Neurocognitive Evaluation of Musical Enunciation Relating to Modality
Modal semiotics (Abou Mrad 2016) offers a formal description of the traditional musical elaboration of modal monodies in the form of a musical generative grammar that articulates a melodic and metric phonological component with a rhythmic-melodic morphological component, a modal syntactic component and a semiotic component. It is based on a limited number of rules for rewriting and transforming th...e monody from the underlying categorization of the melodic data of the mode, which is combined with the rhythmic, stylistic and formal data to finalize the monodic surface and produce musical meanings. While relying on regional grammatical approaches (Arabic modal arborescence and Eastern Roman phtora), this theory calls upon Schenkerian analysis, Chomskyan grammar and Meeùsian harmonic vectors and questions neuroscience about the perceptual substrate of semiosis. Based on this theory, this communication focuses on the notion of musical grammaticality producing meaning. It is about this introversive semiosis (Jakobson 1971; Meeùs 2021), this content of the work that develops organically from within (Schenker 1912; Meeùs 2016). Modal semiotics bases this semiosis on the semantic modalities inferred from the underlying modal structures (Meyer 1956), while considering the modal ethos, this emotional coloring that ancient and medieval writings and recent neurocognitive studies relate to scalar and polar modality (Abou Mrad et al. 2021). As for referential extroversive semiosis, modal semiotics associates it with the temporal and rhythmical parameter, as in stylistic topics, and with intensity and timbre. This communication is based on this epistemic bias to propose a general and global musicological approach to music analysis, which observes parametrised cultural traits within a musical grammar close to this universal grammar described by Noam Chomsky (1981) in terms of principles and parameters.
Licence
Creative Commons Attribution Non Commercial No Derivatives 4.0 International (CC-BY-NC-ND-4.0)| nakala:title | Anglais | 1.5. Generative Grammar, Semiosis and Emotional Neurocognitive Evaluation of Musical Enunciation Relating to Modality | |
| nakala:creator | Nidaa Abou Mrad | ||
| nakala:created | 2023-03-29 | ||
| nakala:type | dcterms:URI | Vidéo | |
| nakala:license | Creative Commons Attribution Non Commercial No Derivatives 4.0 International (CC-BY-NC-ND-4.0) | ||
| dcterms:description | Anglais | Modal semiotics (Abou Mrad 2016) offers a formal description of the traditional musical elaboration of modal monodies in the form of a musical generative grammar that articulates a melodic and metric phonological component with a rhythmic-melodic morphological component, a modal syntactic component and a semiotic component. It is based on a limited number of rules for rewriting and transforming the monody from the underlying categorization of the melodic data of the mode, which is combined with the rhythmic, stylistic and formal data to finalize the monodic surface and produce musical meanings. While relying on regional grammatical approaches (Arabic modal arborescence and Eastern Roman phtora), this theory calls upon Schenkerian analysis, Chomskyan grammar and Meeùsian harmonic vectors and questions neuroscience about the perceptual substrate of semiosis. Based on this theory, this communication focuses on the notion of musical grammaticality producing meaning. It is about this introversive semiosis (Jakobson 1971; Meeùs 2021), this content of the work that develops organically from within (Schenker 1912; Meeùs 2016). Modal semiotics bases this semiosis on the semantic modalities inferred from the underlying modal structures (Meyer 1956), while considering the modal ethos, this emotional coloring that ancient and medieval writings and recent neurocognitive studies relate to scalar and polar modality (Abou Mrad et al. 2021). As for referential extroversive semiosis, modal semiotics associates it with the temporal and rhythmical parameter, as in stylistic topics, and with intensity and timbre. This communication is based on this epistemic bias to propose a general and global musicological approach to music analysis, which observes parametrised cultural traits within a musical grammar close to this universal grammar described by Noam Chomsky (1981) in terms of principles and parameters. | |
| dcterms:language | dcterms:RFC5646 | anglais (en) |