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Topic: Esthesic

	Esthesic and poietic - Wikipedia, the free encyclopedia
		Esthesic (UK aesthesic) and poietic are terms used in semiotics, the study of signs, to describe perceptive and productive levels, processes, and analyses of symbolic forms.
		Like 'emic' and 'etic', both words appear to be derived from a suffix, -poeitic meaning productive or formative and -esthesic being receptive or perceptive, in relation to the neutral level.
		The neutral level is the "trace" left behind, the physical or material creation of esthesic and poietic processes.
	en.wikipedia.org /wiki/Esthesic (127 words)

	MLK Research: Chopin Ballade
		On the esthesic level, a listener may want to hear music as she hears a narration, regardless of composer intent or musical attributes.
		Like the study of narrative, Cook's theory might be structured by Nattiez's tripartition, where the attributes are the immanent level and the listener is the esthesic level (Cook never discusses the composer, though it would be easy enough to include a poietic level in his theory).
		The history of the terms "diegesis" and "mimesis" begins with Book III of The Republic, where Plato uses diegesis to mean speech that comes from the author/narrator and mimesis to mean speech that comes from another character (Plato made no distinction between the narrator and the author).
	astro.temple.edu /~mklein01/Chopmts.html (1054 words)

	Music (Site not responding. Last check: 2007-11-03)
		"By 'esthesic' I understand not merely the artificially attentive hearing of a musicologist, but the description of perceptive behaviors within a given population of listeners; that is how this or that aspect of sonorous relatiy is captured by their perceptive strategies." (Nattiez 1990:90)
		The neutral level is that of the physical "trace", (Saussere's sound-image, a sonority, a score), created and interpreted by the esthesic level (which corresponds to a perceptive definition; the perceptive and/or "social" construction definitions below) and the poietic level (which corresponds to a creative, as in compositional, definition; the organizational and social construction definitions below).
		Music as subjective experience: Another commonly held definition of music holds that music must be 'pleasant' (determined by the esthesic level) or 'melodic' (determined by the neutral and/or esthesic levels).
	www.gogoglo.com /wiki/en/wikipedia/m/mu/music_1.html (3204 words)

	Music Article (Site not responding. Last check: 2007-11-03)
		The neutral level is that of the physical "trace" created and interpreted by the the esthesic level, which corresponds to the perceptive and/or "social" construction definitions below, and the poietic level to a creative, as in compositional, definition, which corresponds to the organizational and social construction definitions below.
		Music as sound: One common definition of music is to label it as 'organized sound', which is determines music according to the poietic and the neutral levels (it must be composed sonorities), or more aesthetically, 'the artful or pleasing organization of sound and silence', which determines music according to the esthesic.
		This definition is widely held to from the late 19th century forward, which began to scientifically analyze the relationship between sound and perception.
	www.adres.nl /music/MusicArticle.asp (2496 words)

	Europa (1997) (for tape) (Site not responding. Last check: 2007-11-03)
		Although it is impossible for the composer directly to communicate the description through the acousmatic medium (without recourse to human-uttered language) it is likely that vestiges of the composer's poietic image induced by the description will have resonances in the listener's esthesis.
		One might say that a correlation, albeit intangible, could occur between the poietic image and the esthesic image; the composer's image and the listener's image respectively.
		Whilst it is not possible for the listener to experience the composer's image in esthesis, by detailing what is, in part, the cause of the poietic image, the listener is given freedom to construct an esthesic image which, itself in part, has the same cause as that of the poietic.
	gsd.ime.usp.br /sbcm/1998/papers/cHafield.html (349 words)

	AND NOW A "MESSAGE" FROM OUR SPONSOR (Site not responding. Last check: 2007-11-03)
		In esthesic readings, viewers map their intertextual and intersubjective expectations onto the television text, while in poietic (bottom-up) readings, viewers assemble visual and auditory structures of the text into meaningful units.
		Using a television commercial for Infiniti automobiles, the music of the commercial is analyzed from a poietic perspective where low-level musical paradigms (tonal, pitch, timbral, and event spaces) are assembled to form musical style topics.
		These style topics are then analyzed from an esthesic perspective, where correlations are made with intertextual and intersubjective aspects of the viewer's discourse, such as radio formats and cultural codes associated with musical styles.
	www.societymusictheory.org /html/events/abstracts/smt-96.abstracts/rodman.html (265 words)

	[No title]
		A functional analysis is directed towards those aspects of a piece that are to do with its composition, whilst a perceptual analysis is d irected towards those aspects that are relevant to the listener.
		On the contrary, it is a poietic analysis masquerading as an esthesic analysis; function masquerading as perception.
		Nattiez does propose that neutral analyses should reflect the cultural concerns of a musical tradition which suggests that Schaeffer\rquote s theories could be used to develop a relevant analysis of the neutral level.
	www.personal.leeds.ac.uk /~muswlw/pubs/files/wlwthesis.rtf (17511 words)

	[No title]
		[4] The terms poietic, neutral and esthesic are here and elsewhere used in the sense proposed by Nattiez (1990): loosely speaking, poiesis refers to the production of the piece, esthesis to its reception.
		The neutral level of a piece is that which may be analysed independently from the concerns of production or reception: Nattiez argues that the score provides such a neutral object for prescriptively notated art music.
		A functional analysis is directed towards those aspects of a piece that are to do with its composition, whilst a perceptual analysis is directed towards those aspects that are relevant to the listener.
	www.personal.leeds.ac.uk /~muswlw/pubs/wlwthesis/wlwthesis_fn.html (1611 words)

	Internet Archive: Details: Santa Cruise Control - Nattiez Part 1
		The processes associated with the musical work's creation and reception, and the material reality that results from the creation of the work, assume the role of objects of study in "Nattiez's Trippyartite." Corresponding to these three objects are the three families of analysis that are used to study them.
		They are poietic analysis, esthesic analysis, and analysis of the work's immanent configuration (of the trace); that is, analysis of the neutral level.
		First of all, while they understand the poietic and esthesic phenomena as processes, they see the immanent configurations as structures that are representative of a neutral level.
	www.archive.org /audio/audio-details-db.php?collection=archival&collectionid=archival2004scc_trip (267 words)

	[No title]
		Apply Nattiez’s theory of the immanent, poietic and esthesic levels in your analysis, and draw on a wider span of musical examples from your own experience.
		The final level, termed the esthesic, can be decribed as the cultural and historical elements of a musical piece and can be understood through the context of the social factors associated with producer and the piece itself.
		That along with the objective material produced, the critic must also consider the intentions of the producer and also, most importantly, the depth in which the biographical, cultural and historical environments play a role in the construction of the producers material.
	www.users.on.net /~suplina/uni/mus/essay.txt (1734 words)

	Musical analysis Did You Mean musical_analysis (Site not responding. Last check: 2007-11-03)
		This includes the physical dimension or corpus being studied, the level of stylistic relevance studied, and whether the description provided by the analysis is of its immanent structure, compositional (or esthesic) processes, perceptual (or poietic) processes (Nattiez 1990: 135-6), all three, or a mixture.
		"The case in which an immanent analysis is equally relevant to the poietic as to the esthesic." Schenkerian analysis, which, based on the sketches of Beethoven (external poietics) eventually show through analysis how the works must be played and perceived (inductive esthesics).
		Jean Molino (1975a: 50-51) shows that musical analysis shifted from an emphasis upon the poietic vantage point to an esthesic one at the beginning of the eighteenth century (Nattiez 1990: 137).
	www.did-you-mean.com /Musical_analysis.html (1720 words)

	Hudson, Essay
		The esthesic level describes music's reception, a primary focus of popular music studies.
		In the market-driven constraints of popular songwriting, style indicators are also determined by audience and industry expectations (the standardization of popular song structure has been trenchantly noted by Adorno, among others).
		In fact, much research in popular music studies seems to focus instead on the poietic level (historiography) and esthesic level (sociology, reception history).
	mto.societymusictheory.org /issues/mto.02.8.4/mto.02.8.4.holm-hudson_essay.html (7162 words)

	Replicating Sonorities: Towards a Memetics of Music
		The second host, 2, initially encounters the meme from the standpoint of the esthesic level, either by hearing the meme in its musico-aural form or by seeing the meme in its musico-graphical notation.
		The movement from the esthesic back to the poietic level within the second host corresponds broadly to the two principal stages of memetic transmission identified by Cavalli-Sforza and Feldman: awareness followed by adoption (1981: 62-65).
		We employ the word trace because the poietic process cannot immediately be read within its lineaments, since the esthesic process...is heavily dependent upon the lived experience of the 'receiver.' Molino proposed the name niveau neutre [neutral level] or niveau matériel [material level] for this trace" (1990: 11-12; his emphases).
	cfpm.org /jom-emit/2000/vol4/jan_s.html (13897 words)

	Neutrality Definition / Neutrality Research (Site not responding. Last check: 2007-11-03)
		Semiotics is the investigation of apprehension, prediction and meaning: how it is that we apprehend the world, make predictions, and develop meaning....
		[click for more] the neutral levelIn semiotics the neutral level of a sign is the "trace" left behind, the physical or material creation or remains of esthesic and poietic processes, levels, and analyses of symbolic forms.
		[click for more] is the "trace" left behind, the physical or material creation of esthesic and poietic, productive or creative and receptive or perceptive, processes.
	www.elresearch.com /Neutrality (551 words)

	Definition of music
		The fifteenth edition of the Encyclopaedia Britannica pinpoints the problem by saying that "while there are no sounds that can be described as inherently unmusical, musicians in each culture have tended to restrict the range of sounds they will admit." Organization would seem to be a crucial restricting criterion in this context, after all.
		There are three levels of description, the poietic, the neutral, and the esthesic:
		"By 'esthesic' I understand not merely the artificially attentive hearing of a musicologist, but the description of perceptive behaviors within a given population of listeners; that is how this or that aspect of sonorous reality is captured by their perceptive strategies." (Nattiez 1990:90)
	www.mp3.fm /Definition_of_music.htm (2802 words)

	Schwarzchild
		Towards this goal the tripartite stages of musical semiology, the poietic, the neutral and the esthesic levels were isolated for analysis.
		The phenomenological approach to perception utilised in Gestalt Psychology was reserved as a central epistemology for the analyisis of poietic and esthesic levels.
		These levels were understood to involve perceptual artifacts of both high and low level cognitive processes.
	oldsite.vislab.usyd.edu.au /gallery/music/alyons/Schwarzchild.html (2220 words)

	Masters Degrees Certified SUNY—Potsdam (Site not responding. Last check: 2007-11-03)
		The tripartition model is comprised of three levels: the trace (or neutral level), the poietic process, and the esthesic process.
		With West African drum language, however, direct communication occurs between the "producer" (the poietic process) and the "receiver" (esthesic process).
		A revision of the tripartition is necessary as the master drummer (one who plays the drum rhythms) has every intention of communicating with his listeners; hence, the esthesic process and the poietic process do correspond.
	www2.potsdam.edu /henryrm/MATheses (2095 words)

	NewMusicBox
		That difference, and the resulting difference in the kinds of judgments that critics arrive at, is analogous to a distinction that Taruskin draws elsewhere in the book between two approaches to art, which he labels the "poietic" and the "esthesic" (from the Greek poiein, to make, and aisthein, to perceive).
		Poietic historiography or criticism takes the creative intention of the artist as a given and judges the resulting work in that light; esthesic criticism considers the work from the perspective of the tastes, expectations, and experience of the audience.
		Composer-critics, writing from a poietic perspective, are apt to celebrate technical innovation, the solving of artistic problems, the musico-political implications of new work.
	www.newmusicbox.org /page.nmbx?id=70vw01 (1932 words)

	Research diary: Improvisation & interpretation
		As an improvisor I work with musical material and concepts when practicing, much in the same way I do when composing, in order to become fluent and able to improvise using this material and these concepts.
		So the terms poietic and esthesic does relate to improvisation to a very high degree.
		I would even want to go so far as to say that improvisation involves a special case of musical interpretation.
	www.henrikfrisk.com /diary/archives/2004/07/improvisation_i.php (559 words)

	Morrison: The Musical Map - Charting the Unknown Territory of the Significant Form of Music (Site not responding. Last check: 2007-11-03)
		his distinction between the poietic (production) and the esthesic (reception) levels is an artificial one because the composer or performer is simultaneously a perceiver and the perceiver creates his or her own perception.
		In order for an artwork to fulfill its function as a creative map it must be created with the intention of establishing this personal/universal dialectic for the perceiver.
		It attains some degree of universal significance when it becomes "of the world." At the esthesic level, the artwork is perceived by the personal act of attention to the artwork, and the perceiver is transformed by the universal and personal significance of the artwork.
	www.the-open-space.org /osonline/morrison/morrison.html (2050 words)

	Keyboards for Christ Music/Award Program
		The composition of these elements gives rise to a system which is on par with the complexities and subtleties of 'language'.
		Another commonly held definition of music holds that music must be 'pleasant' (determined by the esthesic level) or '
		' (determined by the neutral and/or esthesic levels).
	www.keyboardsforchrist.com /P1.html (532 words)

	Amazon.com: The Battle of Chronos and Orpheus: Essays in Applied Musical Semiology: Books: Jean-Jacques ... (Site not responding. Last check: 2007-11-03)
		SIPs: poietic world, esthesic strategies, esthesic side, musical semiology, poietic strategies (more)
		In May 1968 we were about 20 years old, and happy.
		poietic world, esthesic strategies, esthesic side, musical semiology, poietic strategies, postmodern musicology, total serialism, selon pli, focal pitches, des objets musicaux, stylistic mix, musical semantics, musical fact, musically beautiful, music analysis, musical beauty, local truths, paradigmatic analysis, perceptual strategies, immanent structures, musical language, musical substance, musical sketches, tonal music, musical text
	www.amazon.com /exec/obidos/tg/detail/-/0198166109?v=glance (581 words)

	The Rambler
		So there may be something in what Dr Patel is saying in the Guardian article above - but let's not forget that music does not exist in a vacuum.
		Science like this is interesting as far as it goes, but it cannot explain everything - but neither can I. National identity in music is forged in countless different ways - conscious and unconscious, poeitic (composer-side), esthesic (listener-side), and neutral level (the score itself).
		So maybe something in the rhythms and melodic shapes of Elgar makes it sound English - but equally, isn't there something much more complex and revealing about this embedded Englishness at work too?
	johnsons-rambler.blogspot.com /2004/11/composition-language-national-identity.html (604 words)

	Music 839C: Musical Stylistics - Basic Problems (Site not responding. Last check: 2007-11-03)
		How do we recognize a good stylistic description?
		The Esthesic Problem: Where do styles come from?
		The Terminological Problem: Why are styles often named with some verbal label?
	www.music-cog.ohio-state.edu /Music839C/Notes/problems.html (250 words)

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