Table Of Content

T^e D^K/h ( Mwc Çewototy p The Dawn of Music Semiology Eastman Studies in Music Ralph R Locke, Senior Editor Eastman School of Music Additional Titles of Interest American Popular Music in Britain ’s Raj Bradley G. Shope Composing forJapanese Instruments Minoru Miki Edited by Philip Flavin The Gamelan Digul and the Prison-Camp Musician Who Built It: An Australian Link with the Indonesian Revolution Margaret J. Kartomi Harry Partch, Hobo Composer S. Andrew Granade Musical Creativity in Twentieth-Century China: Abing, His Music, and Its Changing Meanings Jonathan PJ. Stock Musical Encounters at the 1889Paris World’s Fair Annegret Fauser “The Music of American Folk Song” and Selected Other Writings on American Folk Music Ruth Crawford Seeger Edited by Larry Polansky Pentatonicism from the Eighteenth Century to Debussy Jeremy Day-O’Connell Representing Non-Western Music in Nineteenth-Century Britain Bennett Zon Three Qu estions for Sixty-Five Composers Bâlint Andris Varga A complete list of lilies in die Eastman Studies in Music series may he found on the University of Rochester Press wehsile, www.urpress.com The Dawn of Music Semiology Essays in Honor of Jean-Jacques Nattiez Edited by Jonathan Dunsby and Jonathan Goldman 4^ University or Rochester Press Copyright © 2017 by the Editors and Contributors All rights reserved. Except as permitted under current legislation, no part of this work may be photocopied, stored in a retrieval system, published, performed in public, adapted, broadcast, transmitted, recorded, or reproduced in any form or by any means, without the prior permission of the copyright owner. First published 2017 University of Rochester Press 668 Mt. Hope Avenue, Rochester, NY 14620, USA www.urpress.com and Boydell & Brewer Limited PO Box 9, Woodbridge, Suffolk IP12 3DF, UK www.boydellandbrewer.com ISBN-13: 978-1-58046-562-5 ISSN: 1071-9989 library of Congress Cataloging-in-Publication Data Names: Nattiez, Jean-Jacques, 1945-honorée. | Dunsby, Jonathan, editor. | Goldman, Jonathan, 1949- editor. Title: The dawn of music semiology : essays in honor of Jean-Jacques Nattiez / edited by Jonathan Dunsby and Jonathan Goldman. ( )llier titles: Eastman studies in music ; v. 137. I inscription: Rochester, NY : University of Rochester Press, 2017. | Series: Eastman studies in music, ISSN 1071-9989 ; v. 137 Identifiers: LCCN 2016042784 | ISBN 9781580465625 (hardcover : alk. paper) Subjects: I.CSII: Music—Semiotics. | Music—Philosophy and aesthetics. | Symbolism in music. Classification: LCC ML3845 .D385 2017 | DDC 781.1/7—dc23 LC record available at https://lccn.loc.gov/2016042784 A catalogue record for this title is available from the British Library1. This publication is printed on acid-free paper. Printed in the United States of America. Contents Foreword: About Jean-Jacques Nattiez vii Pierre Boulez Acknowledgments xi Introduction 1 Jonathan Dunsby and Jonathan Goldman Part One: Metaconsiderations 1 Music and Gesture 11 Jean Molino 2 Music Semiology in the Mind of the Musician 23 Jonathan Dunsby 3 Against Ethnotheory 38 Kofi Agawu Part Two: Poietic Channels 4 From Georgian to Medieval Polyphonies: Analysis and Modeling 59 Simha Arom 5 Schenker’s Inhalt, Schenkerian Semiotics: A Preliminary Study 81 Nicolas Meeùs 6 Music under the Sign of Modernism: From Wagner to Boulez, and Britten 97 Arnold Whittall Vi »> CONTENTS Part Three: Esthesic Excursions 7 Musical Borrowings in the Works of Bruno Maderna 119 Rossana Dalmonte 8 Of Doubles, Groups, and Rhymes: A Sériation of Works for Spatialized Orchestral Groups (1958-60) 139 Jonathan Goldman 9 The Psychological Organization of Music Listening: From Spontaneous to Learned Perceptive Processes 177 Irène Deliège Selected Bibliography of Works byjeanjacques Nattiez 201 List of Contributors 205 Index 209 Tabula Gratulatoria 215 Foreword About Jean-Jacques Nattiez Pierre Boulez 11 him \ ' note: Pierre Boulez was aware of the planning for this book and indicated to us hit I ii Ini lion to provide it with a foreword. Although this would doubtless have been elab- ni iiird pom earlier writings in which Boulez had expressed his deep admiration for and nppin lotion of our dedicatee's scholarship, nevertheless it is a matter of regret that he did nut live lo complete the foreword, which we know he had begun to think about. Partly in hitm ir lo llie memory of such a great musician, instead we offer here excerpts from his let- UI n/ ircommendation, now privately owned, written in support offean-Jacques Nattiez’s • tiinlnlin y for a major award in 2002. I I li.iw followed JeanJacques Nattiez’s career from the beginning. The nov- i In ,iiid originality of his very first book, Fondements d’une sémiologie de la hi inique ( 11)75), did not go unnoticed by observers in our field. This book mi* rile« lively the first of its kind to use methods of investigation based mi die ligotons techniques of linguistics, in order to decipher and better midi I it.mil the structures of musical language. With this truly fundamental Mm V. I <.i 11 -Jacques Nattiez paved the way for a new branch of musicology, tn gin ted until then. But beyond this theoretical and methodological work, In li.ul the merit of applying his theories to areas as varied as they are wor- lli\ ul deep interest. I lie oiigimility of Jean Jacques Nattiez in the world of music lies in the fact dm Im him, musicology does not imply a narrow specialization, more often ill.........I diieeted toward the past. That type of musicology is not without its intim Inn ulten seems lo forget about both the present and other cultures. Vlll *•» FOREWORD As opposed to this, when looking at a list of his publications, one notes titles referring to topics that one has a hard time imagining as being writ ten by the same hand. This is true of his studies of Wagner and another of Proust; in these, it seems to me, he has perfectly grasped the source of the greatness of creators of large-scale works: whether it be the Tetralogy or Remembrance of Things Past, these creators display the capacity, fundamental for me, of deriving compact yet fertile matrices for rich and infinite devel opment. It is to him also that we owe recordings and articles devoted to distant musical cultures, like the Inuit of Canada, the Ainu of Japan, or to the Baganda of Uganda. On top of all that, he has an abiding interest in the study of contemporary music. Need I mention that he served as editor of my own texts Points de repères and Jahns (pour une décennie), as well as the critical edition of my correspon dence with John Cage? Without his active cooperation, these texts would have remained, as they say, ‘in boxes’ or in the drawers of an archive. He is the author of a very long and penetrating article on my work Répons, which is of particular relevance. He has been involved in musical life by directing, upon my request and out of Montréal, a collection, Musique/passé/présent, published by Christian Bourgois in Paris: he has published twenty-five books of composers’, musicolo gists’, and estheticians’ writings in this collection. He founded in 1990, and was Director of for ten years, the journal Circuit, a North American Review of twentieth-century music, published by the Presses de l’Unversité de Montréal. I am well placed to know how fleet ing the life of ajournai on the music of today can be. It is rare that they out live their seventh year, whereas not only has this journal gone beyond this limit but it is still going strong at the beginning of the twenty-first century, still contributing to the dissemination of Canadian musical culture in the French-speaking world. I had the opportunity, in 1993, to introduce him before a series of four lec tures he gave at the Collège de France where he had been invited to speak. I can attest to the extremely warm reception which he received from members of the current French musicological community. These four lectures will be adapted in preparation for a book which is much anticipated in our milieu, and which will certainly be important, judging from what I then heard.1 He has been leading a gigantic project, an Encyclopedia of music in four volumes, published in both Italy and in France. Here, once again, the origi nality of JeanJacques Nattiez’s approach manifests itself. This is the first time that a project of this kind devotes an entire volume—and in this case it is the