The Routledge Handbook of Music Signification

The Routledge Handbook of Music Signification captures the richness and complexity of the field, presenting 30 essays by recognized international experts that reflect current interdisciplinary and cross-disciplinary approaches to the subject.
Examinations of music signification have been an essential component in thinking about music for millennia, but it is only in the last few decades that music signification has been established as an independent area of study. During this time, the field has grown exponentially, incorporating a vast array of methodologies that seek to ground how music means and to explore what it may mean. Research in music signification typically embraces concepts and practices imported from semiotics, literary criticism, linguistics, the visual arts, philosophy, sociology, history, and psychology, among others. By bringing together such approaches in transparent groupings that reflect the various contexts in which music is created and experienced, and by encouraging critical dialogues, this volume provides an authoritative survey of the discipline and a significant advance in inquiries into music signification.
This book addresses a wide array of readers, from scholars who specialize in this and related areas, to the general reader who is curious to learn more about the ways in which music makes sense.

Esti Sheinberg published articles on music signification; Irony, Satire, Parody and the Grotesque in the Music of Shostakovich (Ashgate, 2000); edited Music Semiotics: A Network of Significations-in Honour and Memory of Raymond Monelle (Ashgate, 2012), and Anatoly Milka's Rethinking J. S. Bach's The Art of Fugue (Ashgate-Routledge, 2016). William P. Dougherty, Ellis and Nelle Levitt Professor of Music Theory and Composition at Drake University, has published articles on music semiotics and on the semiotics of the art song. In particular, he has explored settings of the Mignon Lieder from Goethe's Wilhelm Meisters Lehrjahre.

Introduction; Music Signification and Philosophy; ""Musik ist das nicht"": On Romantic Incomprehensibility in Chopin; From Semio-ethics to a Semiotics of Speech in Music and Musicology: Theoretical (and Utopian) Projections; Music and Reality; From Ursatz to Urzemic: Avenues for Theories and Analyses of Music Signification; Music Signification and Semiotics; The Musical Signifier; Barthes's The Grain of the Voice Revisited; Britten and Stravinsky's Neoclassical Opera: Signs, Signification, and Subjectivity; Fundamental Concepts for the Semiotic Interpretation of Musical Meaning: A Personal Journey; Music Signification and Topic Theory; Patterns and Topics as Elements of Signification in Late Eighteenth-Century Music; ""Mad Day"" and the ""March of Bacchus"": Figaro in Mahler's Third Symphony; Topics and Stylistic Register in Russian Opera, 1775-1800; She Spins and She Sighs: The Spinning-Wheel Topic and the Lamentation of the Romantic Female; Charles Griffes's Xanadu: A Musical Garden of Opposites; Music Signification and Narrative; Music Narrative: Theory, Context, Subjectivity.