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Topic: Esthesic and poietic

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Poietic

Neutral level

Emic and etic

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		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).
		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
		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).
	en-cyclopedia.com /wiki/Music (2886 words)

	Esthesic and poietic
		Esthesic 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 poietic appears 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.
	www.xasa.com /wiki/en/wikipedia/e/es/esthesic_and_poietic.html (107 words)

	NationMaster - Encyclopedia: Neutrality (Site not responding. Last check: )
		semiotics the In 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.
		Like emic and etic poietic appears to be derived from a suffix, -poeitic meaning productive or formative and esthesic being receptive or perceptive, in relation to...
		esthesic and poietic, productive or creative and receptive or perceptive, processes.
	www.nationmaster.com /encyclopedia/Neutrality (1464 words)

	Fallacies and confusions Musical Times - Find Articles (Site not responding. Last check: )
		I should like to propose that Schoenberg and his followers were not victims of the poietic fallacy at all, but that they muddied the waters with phrases like 'listening to music as music' and injunctions to the listener not to try to follow the serial manipulations upon which a piece is based.
		It also suggests why a 'healthy constructive basis' is valued: not because the composer scores Brownie points by achieving it, not because some kind of abstract aesthetic value accrues to the work as a result, but because it is only in the presence of regularities and predictabilities that unpredictabilities gain their expressive power.
		But to revert to the Esthesic Confusion, the difficulty that arises as soon as 'how it is done' is counterposed to 'what it is' is that the way it is done determines what it is.
	www.looksmartpop.com /p/articles/mi_qa3870/is_200410/ai_n9463310 (770 words)

	Europa (1997) (Site not responding. Last check: )
		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: )
		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)

	Esthesic - Qwika
		Esthesic and poietic Esthesic and poietic are terms used in semiotics...
		relevant to the poietic as to the esthesic." Schenkerian analysis, which, based on the sketches...
		upon the poietic vantage point to an esthesic one at the beginning of the eighteenth...
	www.qwika.com /find/Esthesic (482 words)

	Music boxes,music lessons,music box movements,musical instruments,pianos, piano
		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 observation.
		However, sound may be defined in opposition to noise, according to the esthetic level (sound is musical and/or pleasing, noise is unmusical and/or disagreeable), or according to the neutral level (acoustically, sound being the harmonic spectrum, noise being complex spectra).
	www.circleyou.com /music.htm (814 words)

	MLK Research: Chopin Ballade
		And narrative on the esthesic level is a matter for probing the ways that we read texts.
		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)

	Internet Archive: Details: Santa Cruise Control - Nattiez Part 1 (Site not responding. Last check: )
		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 /details/archival2004scc_trip (259 words)

	POIETIC Articles
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		Some pages may contain portions of text relating to certain topics obtained from wikipedia.org under the GNU FDL license
	www.amazines.com /Poietic_related.html (260 words)

	Musical analysis: Encyclopedia II - Musical analysis - Analytical situations
		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.experiencefestival.com /a/Musical_analysis_-_Analytical_situations/id/5313681 (1165 words)

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