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音乐符号学根植于北美和欧洲普通符号学的土壤中,大致可以分为结构主义学派和语义学派。这两个学派各自有其局限性,巴赫金的理论体系在一定程度上弥补了它们的不足。本文立足于音乐符号意义的探求,旨在搭建沟通巴赫金学术思想与音乐符号的桥梁,分析巴氏理论对音乐符号的解读,并提出其对音乐符号学未来研究的启示作用。
Musical semiology is rooted in the soil of ordinary semiotics in North America and Europe and can be roughly divided into structuralism and semantic schools. Each of these two schools has its own limitations. The theoretical system of Bakhtin makes up for their deficiencies to a certain extent. Based on the exploration of the meaning of music symbols, this paper aims to establish a bridge between Bakhtin’s academic thoughts and music symbols, analyzes the interpretation of music symbols by Papanic Theory and proposes its enlightenment on the future research of music semiology.