Introductory notes to the Semiotics of Music - Philip Tagg's home page

48 P Tagg: Notes on Semiotics of Music Bibliography
Production origin, incl. [1] nationality of production: USA, Sweden, Australia, Italy, etc;
[2] production vintage: 1940s production, very old film, recent production, etc.
Evaluative comments
This section contains listener opinions of the music heard and of its probable functions
Good taste, incl. enjoyable, good tune, well made, well produced
Bad taste, incl. [1] bad, awful, terrible, boring; [2] unconvincing, shoddy, contrived, badly
produced, cheap, trite; [3] impersonal, innocuous; [4] nonsensical, no content, ludicrous;
[5] pompous, overproduced; [6] cloying, tacky, syrupy
Bibliography
THIS IS A SAD LITTLE BIBLIOGRAPHY! SEE instead
references in ’Music’s Meanings’!
Assaf’yev, B (1976). Die musikalische Form als Prozeß. 1976, Berlin: Verlag neue Musik
Berger P L and Luckman T (1967). The Social Construction of Reality. London: **
Cruise, D A (1988). Lexical Semantics. 1988, Cambridge University Press
Eco, U (1976). A Theory of Semiotics. Bloomington & London: Indiana University Press
Fabbri, F (1982). A Theory of Musical Genres: Two Applications. Popular Music Perspectives, 1: 52-
81 (ed. D Horn & P Tagg). Göteborg and Exeter: IASPM
Fabbri, F (1996). Il suono in cui viviamo. Milano: Feltrinelli
Farmer, H G (1965). The Sources of Arabian Music. Leiden: **
Floyd, S A (1995). The Power of Black Music. New York: Oxford University Press
Francès, R (1972). La perception de la musique (2ème édition). Paris: J Vrin
Frith, S & Goodwin, A (eds., 1990): On the record. London: Routledge (492p)
Gates, H L (1988). The Signifying Monkey. New York: Oxford University Press
Haralambos, M (1974). Right On: From Blues to Soul in Black America. London: Eddison Press
Hunke, S (1971). Allahs Sonne über dem Abendland. Frankfurt-am-Main: **
Imberty, M (1976). Signification and Meaning in Music. On Debussy’s “Préludes pour le piano”.
Université de Montréal: Monographie de sémiologie et d’analyses musicales, 3.
Karbušicky, V (1986). Grundriß der musikalischen Semantik. Darmstadt: Wissenschaftliche
Buchgesellschaft
Keil, C (1977). Tiv Song. Chicago University Press
Klingfors, G (1991). Bach går igen– Kälkritiska studier i JS Bachs uppförandepraxis. Göteborg: Skrifter
från Musikvetenskapliga institutionen, 23
Laing, D (1969). The Sound of Our Time. London & Sydney: Sheed & Ward
Ling, J (1983). Europas musikhistoria -1730. Uppsala: Esselte-Herzogs
Ling, J (1989). Musik som klassisk konst. En 1700-talsidé som blev klassisk. Frihetens former – en
vänbok till Sven-Eric Liedman: 171-187. Lund: Arkiv
Malone, Bill (1974). Country Music USA. Austin & London: University of Texas Press
McClary, S & Walser, R (1990). Start Making Sense! Musicology Wrestles with Rock. On Record,
ed S Frith & A Goodwin: 277-292. London: Routledge
Middleton, R (1990). Studying Popular Music. Buckingham: Open University Press
Pei, M (1966). Glossary of Linguistic Terminology. New York: Columbia University Press
Rösing, H (1977). Musikalische Stlisierung akustischer Vorbilder in der Tonmalerei. München &
Salzburg: Katzbichler
Rösing, H (1978). Fast wie ein Unwetter. Zur Rezeption von Pastoral- und Alpensinfonie-
Gewitter. Festschrift W Wiora (70 Jahr): 65-89. Tutzing: Schneider
Schafer, R M (1977). The Tuning of the World. Bancroft (Ontario): Arcana Editions
Seeger, C (1960) ‘On the moods of a musical logic’. Journal of the American Musicological Society,
XXII, reprinted in Studies in Musicology 1935-1975: 64-88 (Berkeley, 1977).
Skog, I (1975). ‘Arabisk musik’. Sohlmans musiklexikon, vol. 1: 172-176. Stockholm: Sohlmans.
Stockfelt, O (1988). Musik som lyssnandets konst. Göteborg: Musikvetenskapliga institutionen
Strunk, O (ed., 1952). Source Readings in Music History. 1952, London: Faber