Musik Transkription Sprache : musikalische Bearbeitung als Sinnerzeugung?

Anna Valentine Ullrich, Ludwig Jäger
How do semantic effects in music emerge? What is the semantic impact of different musical adaptations on the semantics of music? In order to address these questions a linguistic model, the so-called "theory of the transcriptural logic of cultural semantics" developed by Ludwig Jäger, is transferred to the domain of music. The basic term "transcription" is tested in an interdisciplinary way in order to draw conclusions on the functions and effects of musical transformations. The generation of
more » ... symbol-system music as well as other media-systems is analysed. The term "transcription" refers to a dominant operation within and/or between media-systems (e.g. language, music, visual art). The theory argues that so-called "scriptures" (e.g. texts, songs, pictures) circulate as a part of cultural knowledge or that they are stored in cultural memory. Via transcription a scripture is cut from its 'original' context and embedded in a new one. Thus, an infinite circle of re- and de-contextualization is generated. As a result, scriptures are addressed and read in a new way. The new interrelations which are created by transcriptive operations generate genuine semantic effects. Transcription is regarded as basic cultural strategy by which sense is created. In my thesis I apply the terminology of the theory of transcription to different musical techniques like quotation, collage, montage, variation and digital sampling. The transfer demonstrates that transcriptural practices are relevant in each époque and genre in the history of music. In musical references and intermedial relations between music, language and pictures the tension between 'original' and alien/foreign musical structures becomes apparent. This friction is crucial for the emergence of new semantic effects and transcription can be regarded as an essential practice for the formulation of new ideas and for creating a new sense. The theory of transcription shows music as a constant movement which is driven by transformation and the interplay of repetition and contras [...]
doi:10.18154/rwth-conv-112336 fatcat:vpurqblyu5eibmnrm65xaaijpm