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    Jean Molino: Semiologic Tripartition

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    Romina S. Romay
    Jean Molino was a professor of semiotics at the University of Lausanne. He introduced the idea of analyzing music on three levels: the poietic level concerns the work's creation, the neutral level is the physical work itself, and the esthesic level involves the work's reception. Molino's tripartite analysis looks at a work from the perspectives of its composition, its inherent qualities, and how it is perceived by audiences. This comprehensive approach aims to understand a work more fully than analyses focusing on only one level.

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    Jean Molino: Semiologic Tripartition

    Uploaded by

    Romina S. Romay
    56 views6 pages
    Jean Molino was a professor of semiotics at the University of Lausanne. He introduced the idea of analyzing music on three levels: the poietic level concerns the work's creation, the neutral level is the physical work itself, and the esthesic level involves the work's reception. Molino's tripartite analysis looks at a work from the perspectives of its composition, its inherent qualities, and how it is perceived by audiences. This comprehensive approach aims to understand a work more fully than analyses focusing on only one level.

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    Analysis Keynote

    Original Title

    Analysis Keynote

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    Jean Molino was a professor of semiotics at the University of Lausanne. He introduced the idea of analyzing music on three levels: the poietic level concerns the work's creation, the neutral level is the physical work itself, and the esthesic level involves the work's reception. Molino's tripartite analysis looks at a work from the perspectives of its composition, its inherent qualities, and how it is perceived by audiences. This comprehensive approach aims to understand a work more fully than analyses focusing on only one level.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    56 views6 pages

    Jean Molino: Semiologic Tripartition

    Uploaded by

    Romina S. Romay
    Jean Molino was a professor of semiotics at the University of Lausanne. He introduced the idea of analyzing music on three levels: the poietic level concerns the work's creation, the neutral level is the physical work itself, and the esthesic level involves the work's reception. Molino's tripartite analysis looks at a work from the perspectives of its composition, its inherent qualities, and how it is perceived by audiences. This comprehensive approach aims to understand a work more fully than analyses focusing on only one level.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 6

    Jean Molino

    Professor at the University in Lausanne, semiologist

    Teacher of Jean Jacques Nattiez


    Analysis Introduced the idea of semiotic analysis on three
    Semiologic Tripartition levels:

    Poietic

    Neutral

    Esthesic

    Molinos exempel Poietic level


    A is to B like X is to Y
    All aspects of the creation of music
    Tennis is to Mozart like Ikea is to Norway
    the creative process

    writing down, learning

    the cultural environment


    Analysis - poietic level The Music of the Time

    Study of techniques/rules that define the poets techniques


    activity at the time of the works creation strategies

    Analysis of the strategies that the poet or the work the work
    show to be relevant for the specific piece - create
    techniques
    a model for the works concpetion
    strategies
    Study of the composers intention/will to
    communicate through the work

    Reconstruct the works expressive meaning The works conception

    Esthesic level Neutral level

    Alla aspects of the reception of the piece


    The trace
    perception, cognition, interpretation (of the
    listener) The neutral level is (the physical) trace of the
    esthesic and poietic processes
    consumption
    The score, the music itself
    reception history
    Analysis - neutral level The essence of the work...

    ...is at the same time:


    You choose a method without consideration of its origin,
    the poietic/esthesic levels and carry out the its structure,
    analysis regardless of its outcome unless you and how its perceived
    have reasons to reconsider your choice of
    method Therefore an all encompassing analysis
    method is necessary - musical semiology

    1 Context 1 Context

    3 Sender 2 Message 4 Receiver 3 Sender 2 Message 4 Receiver

    5 Channel 5 Channel

    6 Code 6 Code

    Functions Examples of expressions with focus in different categories


    1. referential (contextual information) 1. referential - the autumn leaves have fallen
    2. aesthetic/poetic (auto-reflection) 2. aesthetic/poetic shall I compare thee
    3. emotive (self-expression) 3. emotive - wow!
    4. conative (vocative or imperative addressing of receiver) 4. conative - come inside and eat!
    5. phatic (checking channel working) 5. phatic - hello, bye, hmm
    6. metalingual (checking code working) 6. metalingual - a sentence without a verb
    Difference from
    Communication Theory
    Analysis on three levels

    communication:
    Easier to avoid the wrong conclusions based on
    observations on the wrong level
    sender message receiver
    But neutral level remains central to the analysis!

    semiology: Structural analysis appropriate (as long as it


    composer music listener takes place on the neutral level)

    Analysis
    Neutral level
    Listening Parameters
    Critical Listening vs.Analytical listening
    Frequencies / spectra
    Hierarchies of sound structures
    Time / durations / articulations

    Dynamics (absolute/relative)
    Sound event and Sound object
    Spatialization
    Perspective and Focus

    Steps Other considerations


    Choose piece
    Semiotic - What are the sounds? What do they
    Identify all sounds and layers
    signify?
    Classify sounds Are they identifiable? (surrogacy)
    Identify sections, structures, texts, and processes
    Phenomenological How does the music sound?
    Draw graphic score / timeline
    Textual, Socio-political, etc
    Identify relevant information
    Typical essay structure
    Introduction

    Examples Sound material

    of analyses Form and structure

    Space and timbre

    Meaning / Reflection

    Conclusions

    Score example excerpts Assignment


    Analyze an electroacoustic music work by doing the following:

    Draw graphical score of the work

    Write a 1000-word text that includes these three topics:

    the works origin/composer

    the works sounds, structure, meaning etc.

    your personal reflection

    Deadline: May 22 I want both text and score as file by e-mail (if you
    have drawn by hand, please scan / photo your score)

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