Problems in the specialized music Lexicon: equivocities, multivocities and contradictions
Main Article Content
Keywords
Musicology, Music, biunivocity, musical concepts, lexicon
Abstract
It’s axiomatic that the main communication tools among the members of an academic community are, namely, the general written and spoken language used in a rigorous manner, it’s semantic specific scientific portion and it’s own symbolic system, when applicable, in such a way that the concepts or objects managed by the respective discipline be corresponded biunivocally by definite words and signs. Since the universally reached knowledge of a given discipline is kept and developed by that academic community through continuous research and linguistic communication, a non rigorous lexicon stands against a real authentic progress of that specific academic field. This text tries to draw attention on certain words assigned to some
musicological concepts, especially in the area of the so called “Music Theory”, a problematic expression, by the way, referred to the study of the elements and structures or Grammar of the Music.
musicological concepts, especially in the area of the so called “Music Theory”, a problematic expression, by the way, referred to the study of the elements and structures or Grammar of the Music.
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References
Agawu, K. Playing with signs a semiotic interpretation of classical music. Princeton University Press.
Chailley, Jacques (1967) La Musique et le signe. Lausanne: Reencontré.
Cooper G. & L. Meyer (1960) The rhythmic structure of Music. University of Chicago Press.
Czerny, Carl. (1979) School of practical composition: Complete Treatise On The Composition Of All Kinds Of Music. New York: Da Capo Press, 3 Volumes.
Damschröder, David (1990) Music Theory from Zarlino to Schenker. Stuyvesant, NY: Pendragon Press.
Forte, Allen & Gilbert, Steven E. (1992) Introducción al análisis schenkeriano. Barcelona: Labor.
Grauer, Victor (2000) A Field Theory of Music Semiosis”. En: Eunomios Vol. 12,No. 6.
Guzmán, Alberto (2007) Historia crítica de la teoría Musical y el Análisis. Cali: Universidad del Valle.
Imberty, Michel (1979) Entendre la musique. Sémantique psychologique de la musique. Paris: Dunod.
Molino, Jean (1975) “Fait musical et sémiologie de la musique”. En: Musique en Jeu No. 14. Paris : Seuil.
Riemann, Hugo (1962) History of Music Theory. Lincoln: Nebraska University Press.
Salzer, Feliz (1952) Structural hearing: Tonal coherence in music. New York: Charles Boni.
Schönberg, Arnold (2005) El estilo y la idea. Barcelona: Idea books
Chailley, Jacques (1967) La Musique et le signe. Lausanne: Reencontré.
Cooper G. & L. Meyer (1960) The rhythmic structure of Music. University of Chicago Press.
Czerny, Carl. (1979) School of practical composition: Complete Treatise On The Composition Of All Kinds Of Music. New York: Da Capo Press, 3 Volumes.
Damschröder, David (1990) Music Theory from Zarlino to Schenker. Stuyvesant, NY: Pendragon Press.
Forte, Allen & Gilbert, Steven E. (1992) Introducción al análisis schenkeriano. Barcelona: Labor.
Grauer, Victor (2000) A Field Theory of Music Semiosis”. En: Eunomios Vol. 12,No. 6.
Guzmán, Alberto (2007) Historia crítica de la teoría Musical y el Análisis. Cali: Universidad del Valle.
Imberty, Michel (1979) Entendre la musique. Sémantique psychologique de la musique. Paris: Dunod.
Molino, Jean (1975) “Fait musical et sémiologie de la musique”. En: Musique en Jeu No. 14. Paris : Seuil.
Riemann, Hugo (1962) History of Music Theory. Lincoln: Nebraska University Press.
Salzer, Feliz (1952) Structural hearing: Tonal coherence in music. New York: Charles Boni.
Schönberg, Arnold (2005) El estilo y la idea. Barcelona: Idea books
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How to Cite
Yepes Londoño, G. (2009). Problems in the specialized music Lexicon: equivocities, multivocities and contradictions. Co-Herencia, 6(10), 189–205. Retrieved from https://publicaciones.eafit.edu.co/index.php/co-herencia/article/view/115
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Author Biography
Gustavo Yepes Londoño, Universidad EAFIT
Docente-investigador del Departamento de Música de la Universidad EAFIT.Attribution 4.0 International (CC BY 4.0)
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