THE SYNTACTIC AND SEMANTIC DIMENSIONS OF THE MUSICAL LANGUAGE IN "KYRIE" FROM JOSEPH HAYDN’S "HARMONIEMESSE"
Keywords:
Harmoniemesse, Joseph Haydn, Musical Language, Semantics, Syntax, Vocabulary.Abstract
Starting from the opening (Kyrie) of Haydn’s last opus – Harmoniemesse, the present essay propositions a synthetic model of performance analysis. First enounced by Dinu Ciocan, the analytical model is set in distinct stages of investigation and development: the structuralist approach (principles which derive from the syntactics, semantics, and pragmatism in music) is followed by meanings from connected art fields (religion, philosophy, logics, semantics, visual arts, oratory). This modus operandi focuses at the same time on the non-verbal dimension as well as the heterogenous character of music as art, a step through which the poetics of the music is revealed – meaning the religious character, which is categorized in different stages. Continuing to discuss the theory in this analytical boundary, I will also present a possible application of this psycho-physiological archeology specific to music, which accents the syntactical as well as the semantic dimension of the musical language.
References
Chusid, Martin, „Some Observations on Liturgy, Text and Structure in Haydn’s Late Masses”, în Studies in Eighteenth-Century Music, (Eds. Robbins Landon and Roger Chapman), Oxford University Press, New York, 1970.
Ciocan, Dinu, Probleme de semiotică muzicală (Musical semiotics), in Musicology Studies vol. XXI, Musical Publishing House, Bucharest, 1989.
Giuleanu, Victor, Tratat de teoria muzicii (Treaty of Music Theory), Musical Publishing House, Bucharest, 1986.
Landon, Robert, Haydn. Chronicle and Works, vol. V, Bloomington, Indiana University Press, 1977.
Staicovici, Ianca, Dicționar de termeni muzicali, (Musical Terms Dictionary), Encyclopedic Publishing House, Bucharest, 2010.
Landon, Robbins, Joseph Haydn: Critical Edition of the Complete Symphonies, Viena, Universal Edition, 1963.
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