Translation And Research Of Semiotics Of Classical Music-How Mozart,Brahms And Wagner Talk To Us

Based on the translated text of Semiotics of Classical Music-How Mozart,Brahms and Wagner Talk to Us,this paper presents a summary of semiotics and its application to interpret music and provides an understanding of the practice of translation.Semiotics of Classical Music-How Mozart,Brahms,and Wagner Talk to Us essentially falls within the scope of music communication research,which involves philosophy,aesthetics,sociology,and three of the six elements of communication research: Who(musicians such as Mozart),What(the connotation and meaning of music),and to Whom(us the audience).As an independent discipline,semiotics was formed in the 1970 s,stemmed from the sciences of Saussurean linguistics,communication,information,and others.It is the study of the nature of signs of things,the rules of development and changes of signs,the various meaning of signs,and the relationship between signs and different human activities.Departmental semiotics comes into being when the principles of semiotics are applied to specific fields(this paper applies them to classical music to study musical semiotics,)which has a certain degree of academic foresight and researchability.The paper combines existential semiotics,philosophy,and art,uses the approach of existentialism and transcendental analysis to interpret "classical music" in instances of Western classical music,art music used for performance and teaching,and commercial art music from theory and musical experience,and reflects on the theoretical aspects of art from semiotic and philosophical perspectives.This book represents a genuine work in progress from Eero Tarasti.Building on his three previous books on music semiotic— Myth and Music(1979),A Theory of Musical Semiotics(1994),and Signs of Music(2003)— and returning to his early roots in German philosophy,it constructs new theoretical and analytical approaches embedded in the development of music and combines new theory with musical experience.By exploring the existence of "self" and "ego" in classical music,he analyzes and reflects on the interpretation of musical semiotics,establishes a system of interpretation of musical semiotics,fully recognizes its meaning and value,and conducts a critical analysis of its content.With references to how Mozart,Brahms,and Wagner talk to us,this book applies abstract concepts to music practice and combines them with theory to explore the rules and meanings of development and changes of music signs and to analyze the relationship between composers,performers,and listeners.