摘要
符号是用来表达意义的,要表达任何意义必须用符号。但这条原理如何应用于音乐,音乐究竟有无意义,却产生了几百年不休的争论。从符号学角度剖析此问题,可以发现,音乐自律论与音乐他律论之争,实际上是如何理解并分解索绪尔的所指。而皮尔斯的开放式符号三分法,可以成为解决这一问题的钥匙,音乐作为艺术符号,可以跳过对象,指向可以无限衍义的解释项。
Signs are used to send meanings,and any meanings have to be sent by signs. But the questions how to apply this principle to music and whether music has meanings have caused hundreds of years of debate. In the perspective of semiotics,it could be found that the dispute between musical autonomy and musical heteronomy depends on how to split and dissolve the signified in the Saussurean sense. The tripartite division proposed by Peirce provides a key. Music,as signs of art,could skip the object to point to the interpretant that leads to unlimited semiosis.
出处
《南京社会科学》
CSSCI
北大核心
2014年第1期145-150,共6页
Nanjing Journal of Social Sciences
基金
教育部人文社科研究规划基金项目"歌诗作为文学新体裁的兴起与发展趋势研究"(13YJA751034)的阶段性成果
教育部"新世纪优秀人才计划NCET-12-0390"的支持
关键词
音乐符号
艺术符号
所指
解释项
musical signs
signs of art
signified
interpretant
