By Guerino Mazzola
This publication explains music’s finished ontology, its means of life and processing, as laid out in its compact characterization: tune embodies significant verbal exchange and mediates bodily among its emotional and psychological layers. The e-book unfolds in a uncomplicated discourse in daily language that's available to all people who desires to comprehend what this subject is set. Musical ontology is behind schedule in its primary dimensions: its realities, its significant communique, and its embodied utterance from musical creators to an viewers.
The authors' procedure is acceptable to each musical style and is clinical, the booklet is appropriate for non-musicians and non-scientists alike.
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Additional resources for All About Music: The Complete Ontology: Realities, Semiotics, Communication, and Embodiment
Semiotics is the dimension of meaning. It studies the structure of symbols and signs and their associated meanings. We will start by introducing the basic principles of semiotics: the diﬀerent levels of symbols and the structure of musical symbolism. We will then discuss philosophers and linguists that studied semiotics, and explain their theories as they relate to music. We will apply the theories of Ferdinand de Saussure, who is perhaps the most inﬂuential scholar of semiotics, to analyze and exemplify music as a symbolic system.
Music is very clearly capable of activating conﬂicting emotions. For example, someone may love listening to a particular song that reminds them of a past lover, inducing feelings of happiness, nostalgia, sadness, and longing all at once. Such a complex mixture of emotions cannot be explained by the core aﬀect model. While it may be adequate for deﬁning emotions arising from a stimulus that is consistent in its valence and magnitude, core aﬀect is too simple and strict to explain complex emotions that are aroused by multiple stimuli, or by one stimulus with multiple interpretations.
30 3 Physical Reality Fig. 23: Scheme of a human neuromuscolar junction: 1. end of the motor nerve with presynaptic terminal; 2. mitochondrion; 3. synaptic vesicles; 4. acetylcholine receptor; 5. muscle; muscular cell membrane: sarcolemma. Drawing by Yan Pang. We can see such connection also as a bridge between the reality of the mind, with thinking transformed into electric impulse of nerves, to the physical/physiological reality of movements in space and time of human body, moved by muscles. See the chapter about gestures and embodiment for these concepts.