[PDF ebook] The Semiotics of Popular Music Communication (29.6MB)

Content Description:

The symbolic communication of music has a unique system of meanings composed of language, music, performance and even images, and its meaning dissemination activities have their own characteristics of symbol form, symbol meaning and symbol use, and follow the logical principles of music production, dissemination, consumption and recognition. The basic idea of this book is to follow Morris's trichotomy of symbolic form, symbolic meaning, and symbolic use to discuss the symbolic composition of popular music texts, the symbolic meaning transmission of popular music, and the symbolic mechanism of the social impact of popular music, as well as to discuss in detail the elements of the popular music transmission: lyrics, music, singers, media, transmission, and audience, We will discuss in detail the various elements of pop music communication - lyrics, music, singers, media, transmission, audience, culture, and the function of cultural commodities, etc. We will combine the principles of semiotics with some important mechanisms of communication in the development of contemporary pop music, and try to form a more complete theoretical system of the semiotics of pop music communication.

Author Bio:

Lu Zhenglan, a native of Yangzhou, Jiangsu Province, is a doctor of literature. She is a professor at the School of Literature and Journalism, Sichuan University, and a doctoral supervisor. He is a visiting scholar at the University of Cambridge, UK, and a selected candidate of New Century Talents. He is mainly engaged in teaching and researching the theory of art semiotics. His books include Lyrics, The Voice of the World: 24 Famous English Songs, Songs and Gender, Semiotics of Popular Music Communication, and Twelve Lectures on Lyrics Art; and translations of Music - Media - Symbols, Music Symbols, and Key Words in Popular Music and Culture.

Table of Contents:

Introduction

Previous Symbolism: A Study of the Textual Structure of Popular Music

Chapter 1: Textual Composition of Popular Music: A Special Biaxial Relationship

Section I. Polymeric Texts

Section 2: Composite Media Mix

Section 3: Multi-Segment Production

Section 4: Complex Textuality

Chapter 2: Symbolic Characteristics of Popular Music Texts: "Utility-Non-Utility"

Section I. The "Object-Practical-Art" Triad

Section 2: The Artistry of Popular Music Texts

Section 3: The Practicality of Popular Music Texts

Section 4: Usability of Popular Music Texts

Chapter Three: The "Desymmetrization" of Popular Music Texts: Genre Normalization

Section 1: Fingerprint Distance and Pitch Reconstruction

Section 2: Symbolic Distance of Genres

Section 3: The Rational Slide of Lyrics

Section 4: Generalization of Allegations

Section 5: The "Hing" of Total Injustice

Chapter 4: Communication Patterns of Popular Music Texts: Internal and External Echoes

Section 1: Echoing Structures

Section 2: Personal Pronoun Symbols

Section 3: Three Levels of Subjects of Speech

Section 4: Cultural Contextualization

Chapter 5: The "Prick" in Popular Music: Repetition and Variation

Session 1: Repetition in Music

Section 2: In-text repetition generates punctures

Section 3: Intertextual Proliferation of Extra-Textual Repetition Formation

Section 4: The Cultural Significance of Reinstatement

Chapter 6 Demonstrability of Popular Music Texts: ritual, community effects

Section I. Presentation

Section 2: Symbolic Characteristics of Presentational Texts

Section 3: The Community Effect of Presentation Subjects

Chinese Rationalism: A Study of Meaning Communication in Popular Music

Chapter One: The Transmission Mechanism of Popular Music: A Multi-Session Intentional Cycle

Section 1: The Development of Communication Mode Theories

Section 2: Music Distribution Models

Section 3: The Multi-Session Imagery Cycle in Popular Music Transmission

Chapter 2: Popular Music and Pure Music: Interpreting the Meaning of Symbols

Section I. The Meaning of Pure Music Notation Puzzle

Section 2: Canonical and Referential Music Notation

Section 3: Meaningful Processes and Meaning Interpretation in Music

Section 4: The Tone Setting Role of Lyrics in Popular Music

Chapter 3 Accompanying Textual Dependence in Popular Music Communication: the "Principles of Marketing"

Section I. Concept of accompanying texts

Section 2: Classification of Accompanying Texts in Popular Music

Section III. Accompanying Texts "Excessive Enforcement"

Chapter 4: The Symbolic Mediation of Popular Music: Singer Recognition and Fan Economy

Section 1: The Singer as a Special Symbol

Section 2: The Textual Identity of Singers and Songs

Section 3: Cultural "Symbolic Convergence" Constructed by Singers