Introversive semiosis

As a sequel to extroversive semiosis, we have introversive semiosis (if you have not read the previous post, I invite you to do so). This was Kofi Agawu’s definition: “[i]ntroversive semiosis denotes internal, intramusical reference, both backward and forward, retrospective and prospective” (Agawu 1991, 132). If extroversive semiosis inhabits the space dimension – where meaning is brought about by referring to objects outside the realms of the piece – then introversive semiosis is a linear method that inhabits the time dimension for its reliance on material that has been or will be heard. For example, the ‘Christ’ theme in my composition (which is a musical cryptogram, a topic for another day) is first heard as a melody in the brass at the word ‘Christe’ in the Kyrie movement:

However, it is heard harmonically in the strings at the first bar of the Kyrie:

The strings’ prospective reference to the ‘Christ’ theme was bound by the time dimension of the piece; it was an intramusical reflection and distortion. The reason for this introversive technique was to convey the theological belief that Christ was at the beginning of the creation of the universe.

Introversive semiosis could be used in many other ways, and it has. Any point in a piece that involves the development of any thematic material (melodic, harmonic, structural, etc.) signifies the original theme. However, this is also where the definitions of extroversive and introversive semiosis converge. If a theme is being developed (introversive) so to signify an object outside the piece (extroversive), then the distinctions blur. An example would again be the strings’ prospective implication of the ‘Christ’ theme: the intramusical signified object is the ‘Christ’ theme – later used – in the brass, the extramusical signified object is the doctrine of Christ’s pre-existence (John 1:1-18). Therefore, the strings use both extroversive and introversive semiosis in the same instance.

While this ambiguity might seem to be a reason not to need such binary terms as ‘introversive’ and ‘extroversive’, they still signify the relationship between perceived objectivity/ autonomy and subjectivity in music. When one says a semiotic element is referring to outside the piece, they mean that they interpret there to be a certain reference outside the piece. Evidently, subjectivity is a strong influence in extramusical signification. On the other hand, it is easier to find a reference that stays within the limits of the piece because of our brains’ abilities to recognise patterns. Of course, this does not mean that this process is truly objective or autonomous, though it is also not as dependent on our interpretation of the semiosis than extramusical reference itself. Therefore, the terms are helpful to understand the concepts, though they must be used with caution; this is so one does not inadvertently polarise the distinctions more than they already are polarised.

As was said earlier, I will soon be discussing musical cryptograms, musico-semantic association, and their connections with introversive and extroversive semiosis in my composition and research.

Bibliography

Agawu, Kofi. 1991. Playing with Signs: A Semiotic Interpretation of Classic Music. Princeton: Princeton University Press.

Extroversive semiosis

Music has often been described with linguistic terms – some would even go as far as to call it a language. Despite its apparent differences between verbal language, it still uses a syntax, a (melodic) vocabulary, phrasing structure, phonology, and many other shared systems. In this blog post, I will show one way that my piece will convey and represent: extroversive semiosis.

Kofi Agawu, using Roman Jakobson’s linguistic approach to semiotics, described extroversive semiosis as anything in music that “denotes external, extramusical, referential connection” (Agawu 1991, 132). An example he gave was that if there was a reference to a style or aesthetic, the music would be referring to a reconetextualised historical style where the style is outside the domain of the piece; my own macro (rather than specific) example is my composition’s reference to Jazz and sacred aesthetics, as well as their historical relationship with each other. Also, the above tapestry refers to an Ancient Egyptian event in time, a reference outside of the materials, colours, and textures of the tapestry itself.

A micro example would be the use of fugal technique in the Kyrie part of my mass. I begin with a reharmonised and paraphrased tune of For the Beauty of the Earth by Conrad Kocher (1967), sung by the first sopranos:

The first sopranos carry on in counterpoint to the second sopranos, where the harmony modulates briefly to the dominant – the theme is again paraphrased:

There are four more introductions of voices with harmonic, melodic, and rhythmic alterations to the original theme, after which the brass section also plays an altered version of the theme. The stimulus for this process was the six days of creation – six introductions of voices – and a seventh rest day – brass soli.

By combining sacred (mass text and hymn material), art music (fugue), and jazz techniques (concerted voicing [potentially a combination of close 4 and drop-2 voicing], reharmonisation, and paraphrasing), the music is not only intended to signify the first part of Genesis. Once an audience-member recognizes a relationship between the styles within the music, they are given an opportunity to connect/ correlate this with the historical relationship between the different styles – in this case, when the styles have interacted cohesively.

Now, how the audience interprets the actual sounds is another matter; it is possible that they do not interpret two signified elements (Genesis and the historical relationship between sacred music/ art music/ jazz) as they were used in the compositional process. The point is that the combination of different signified elements is what developed the compositional process, not to affirm the autonomy of the semiotic elements in this piece.

Previously I wrote about the polydoxy of musical purpose, which is also what I plan to convey and critique in this composition. The intention is to display multiple ‘ideas’ within a realm, where the ‘ideas’ are the signified elements in the music and the realm is the compositional material. Jazz, sacred music, and art music aesthetics are chosen for this piece because a microcosm of musical polydoxy is presented for listeners to review musical polydoxy. Therefore, the use of polysemiotic representationalism is a musical application of the polydox.

In my next post, I will discuss the use of Kofi Agawu’s ‘introversive semiosis’ in my composition, as well as the malleability and convergence of Agawu’s semiotic terms.

Bibliography

Agawu, Kofi. 1991. Playing with Signs: A Semiotic Interpretation of Classic Music. Princeton: Princeton University Press.

Kocher, Conrad. 1967. “For the Beauty of the Earth.” In Favorite Hymns of Praise, 457. Wheaton: Hope Publishing Company.