Semiomusicology

 SEMIOMUSICOLOGY 

as a NEW FIELD in SEMIOTICS of CULTURES.

Small harps Céirnín, made by Mihkel Soon, using the works of the author.

Ernst Cassirer, along with other german philosophers, defined a Kulturwisershaften, science of culture, thus creating a new scientific continent. Semiomusicology, a term generously offered by Astrid Guillaume (Sorbonne University) during the PhD defence, stems from there. This scientific continent has recently develloped and found a new breath.

We can propose two major works to illustrated this new epistemology waves :

Lassègue, Jean, Cassirer. Du Transcendental au Sémiotique, Paris, Vrin, 2016

Bouquet, Simon et Rastier, Francois, Introduction aux sciences de la culture, Paris, PUF, 2002.

In short, Semiomusicology:

-> centers around the question of Meaning, how Meaning is generated and what are the condition of access to Meaning. 

->federates by this semiotic question the multiple disciplines and area of knowledge necessary to understand a musical cultural object. 

->is distinct and differs from other semiotics of music, notably in the fact that semiomusicology doesn't presuppose the linguistic semiosis as the absolute template of any semiosis.

-> considers the existence of a network of view points and situations in any scientific project and therefore the claim of a neutral observation is thought as non valid, whih renders necessary the clear explianing of the describing and/or interpreting processes. 

Semiomusicology is this acception has been initiated in our book : Vincent Michaud-Laine, La sémiomusicologie de la harpe gaélique ancienne, Paris, Classiques Garnier, 2024.