The purpose of this chapter is to argue for the inclusion of Edgar Morin's philosophical principles of complexity as supplements to the musical panoply of analyses and interpretations derived from musical semiology and musicology. In this way, such analyses can be given a new critical approach, adopting a polysemic attitude that is better suited than the current one to convey the full richness of the musical phenomenon, particularly in terms of its fluidity and dynamics. The first section of the article attempts to define the boundaries of Jean-Jacques Nattiez's musical semiology, as well as the analyses. as a result of it We will investigate the concept of musical work in depth, examining the components of its complexity that prevent a reductive operation between the score and the work. The second section of the chapter is concerned with the reconstruction of musical works, which is proposed on the basis of Musical Heuristics, allowing for "embodied" knowledge of the reference pieces and thus supplementing the analyses derived from musical semiology. In conclusion, my paper attempts a musical application of the three underlying principles of complexity philosophy.
Author (S) Details
Mandolini Ricardo
University to Lille “Sciences Humaines Et Sociales”, France.
View Book :- https://stm.bookpi.org/STHSS-V2/article/view/1800
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