Semiotics of Classical Music: How Mozart, Brahms and Wagner Talk to Us

Preface
Prelude: Music – A Philosophico-Semiotic Approach
	Chapter 1. Introduction to a Philosophy of Music
		1.1 “Being” in music (Ontology)
		1.2 The subject
		1.3 Me (Moi) and Self (Soi) in music
		1.4 Towards music analysis
		1.5 Results
Part I. THE CLASSICAL STYLE
	Chapter 2. Mozart, or, the Idea of a Continuous Avant-garde
		2.1 What is the avant-garde?
		2.2 Between individual and society; or, How the Moi and Soi of the composer meet
		2.4 The freedom and necessity of composing
	Chapter 3. Existential and Transcendental Analysis of Music
		3.1 More on analysis
		3.2 From modalities to metamodalities
		3.3 Some theoretical results
		3.4 Observations on the Beethovenian discourse
		3.5 Beethoven, Sonata Op. 7 in E flat major, 1st movement: An exercise in existential analysis
	Chapter 4. Listening to Beethoven: Universal or National, Classic or Romantic?
		4.1 The performer’s Beethoven
		4.2 British common sense
		4.3 Music as conceptual activity
		4.4 Adorno as pre-semiotician
		4.5 And intonations
Part II. The Romantic Era
	Chapter 5. The irony of romanticism
		5.1 Irony as part of Romantic ideology
	Chapter 6. “ein leiser Ton gezogen ...”: Robert Schumann’s Fantasie in C major (op. 17) in the light of existential semiotics
		6.1 Introduction
		6.2 Genesis
		6.3 From modes of being to the Z model and its temporalization
		6.4 Levels of musical signification in the Fantasie
		6.5 Existential tones of the Fantasie?
	Chapter 7. Brahms and the “Lyric I”: A Hermeneutic Sign Analysis
		7.1 Introduction
		7.2 Semantics: Basic oppositions
		7.3 “Instrumentation” of the poetic language
		7.4 Musical paradigms
		7.5 Interpretation – Four musical-poetic situations
	Chapter 8. Brünnhilde’s Choice; or, a Journey into Wagnerian Semiosis: Intuitions and Hypotheses
		8.1 Introduction
		8.2 Wagner’s early operas
		8.3 The Nibelungen Ring
		8.4 Some remarks on the later operas
	Chapter 9. Do Wagner’s leitmotifs have a system?
		9.1 Leitmotif diagrams
		9.2 Systematization in terms of content
		9.3 Music-analytic point of view
		9.4 Semiotic approach
Part III. Rhetorics and Synaesthesias
	Chapter 10. Proust and Wagner
		10.1 Wagner in Proust’s Correspondence
		10.2 Wagner in Proust’s writings and novel
		10.3 Proust and musicians
		10.4 Reynaldo Hahn (1875–1947)
		10.5 The presence of Wagner in À la recherche du temps perdu
		10.6 Species of narration
		10.7 Ekphrasis and levels of texts
	Chapter 11. Rhetoric and Musical Discourse
		11.1 Rhetoric as Speech Act
		11.2 The Classics
		11.3 Applications to music
		11.4 Rhetoric through the ages
	Chapter 12. The semiosis of light in music: from synaesthesias to narratives
		12.1 Introduction
		12.2 Bases for synaesthesias
		12.3 Synaesthesias in artistic practices
		12.4 Is it possible to measure timbre?
		12.5 Semiotics of light
		12.6 Theory of light in music
		12.7 Light in music: Examples and analyses from music history
	Chapter 13. The implicit musical semiotics of Marcel Proust
		13.1 Toward new areas of sign theory
		13.2 Music at the salon of Madame Verdurin
		13.3 The Proustian “musical model”: A Greimassian explication
		13.4 Semiotic analysis: Proust’s description of a soirée at Madame Verdurin’s
	Chapter 14. M. K. Čiurlionis and the interrelationships of arts
		14.1 Analysis
	Chapter 15. Čiurlionis, Sibelius and Nietzsche: Three profiles and interpretations
		15.1 Narrative space
		15.2 Painted sonatas
		15.3 Sibelius – Synaesthetician
		15.4 ... and Nietzsche
		15.5 Conclusion: Toward existential and transcendental semiotic interpretations
Part IV. In the Slavonic World
	Chapter 16. An essay on Russian music
		16.1 Emergent Russian qualities in music history
		16.2 Glinka
		16.3 Rimsky-Korsakov
		16.4 Tchaikovsky
		16.5 Rachmaninov
		16.6 Shostakovitch
		16.7 Semiotic interpretation
	Chapter 17. The stylistic development of a composer as a cognition of the musicologist: Bohuslav Martinů
		17.1 Orientation to the style of Martinů
		17.2 Fourth Symphony
Postlude I
	Chapter 18. Do Semantic Aspects of Music Have a Notation?
Postlude II
	Chapter 19. Music – Superior Communication
		19.1 Music and medicine: Some reflections
		19.2 Transcendence and nonlinear communication
Glossary of Terms
Bibliography
Index of persons and musical works