Referential iconicity in music and speech.
Musical meaning is multifaceted. It is highly sensory and yet often abstract; able to cross cultural boundaries and yet embedded in specific traditions. For the most part music as a semiotic system is characterized by non-referential meaning (Monelle, 1991). Nevertheless, in so-called programmatic m...
| Publicado en: | Public Journal of Semiotics Vol. 9; no. 1; pp. 41 - 78 |
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| Formato: | Artículo |
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Public Journal of Semiotics
2019
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=142418418&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 142418418 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 19189907 52XS jtl: Public Journal of Semiotics issn: 19189907 maglogo: N pubinfo: dt: 2019 vid: 9 iid: 1 pid: 40043 pub: Public Journal of Semiotics artinfo: ui: 142418418 10.37693/pjos.2019.9.20283 ppf: 41 ppct: 37 formats: fmt: @attributes: type: P size: 9MB tig: atl: Referential iconicity in music and speech. aug: au: Giraldo, Verónica affil: Currently researching on how to make visual art and museums more accessible to the blind and visually impaired community su: Cultural boundaries Speech Sound symbolism Native language sug: subj: Cultural boundaries Speech Sound symbolism Native language keyword: cognitive semiotics iconicity ideophones musical traditions primary/secondary iconicity semiotic systems signs sound symbolism ab: Musical meaning is multifaceted. It is highly sensory and yet often abstract; able to cross cultural boundaries and yet embedded in specific traditions. For the most part music as a semiotic system is characterized by non-referential meaning (Monelle, 1991). Nevertheless, in so-called programmatic music, musical themes are intended to refer to worldly objects and events on the basis of iconic (and indexical) grounds. Such non-arbitrariness has been extensively documented in the case of speech as well (Ahlner and Zlatev, 2010; Sonesson 2013; Imai and Kita, 2014). In an experimental study, I investigated how referential iconicity in speech operates in comparison to music, considering the factors (a) primary/secondary iconicity and (b) linguistic/cultural background. In the experiment 21 Swedish and 21 Chinese native speakers had to match musical fragments from Prokofief's Peter and the Wolf and spoken word-forms to objects, represented by schematic pictures. The experiment was designed to have two conditions to operationalize higher degree of primary and secondary iconicity, respectively. The results showed that there was no significant difference between the overall results for music and linguistic tasks, indicating that the cognitive-semiotic processes involved are not limited to a single cognitive domain or semiotic system. Both groups performed significantly above chance in both conditions, which serves as a clear indicator that interpreting referential music in music and speech sounds is not purely a case of secondary iconicity. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Public Journal of Semiotics is the property of Public Journal of Semiotics and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Public Journal of Semiotics holder: Public Journal of Semiotics dt: @attributes: year: 2019 holdings: @attributes: islocal: N |
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