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Semiotics, Pragmatics, and Metaphor in Film Music Analysis Juan Chattah

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Semiotics, Pragmatics, and Metaphor in Film Music Analysis Juan Chattah Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 Semiotics, Pragmatics, and Metaphor in Film Music Analysis Juan Chattah Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC SEMIOTICS, PRAGMATICS, AND METAPHOR IN FILM MUSIC ANALYSIS By JUAN ROQUE CHATTAH A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2006 Copyright © 2006 Juan R. Chattah All Rights Reserved The members of the Committee approve the dissertation of Juan Chattah defended on February 1, 2006. ______________________________ Michael Buchler Professor Co-Directing Dissertation ______________________________ Matthew Shaftel Professor Co-Directing Dissertation ______________________________ Denise Von Glahn Outside Committee Member __________________________ James Mathes Committee Member The Office of Graduate Studies has verified and approved the above named committee members ii ACKNOWLEDGMENTS This dissertation would not have been possible without the continuous support of Michael Buchler and Matthew Shaftel. I can’t thank them enough for their encouragement, patience, and their enormous contribution to this dissertation. Throughout these years, they shared with me their knowledge and comprehensive vision, and provided advice and guidance not only in my research, but in every aspect of my professional life. I especially appreciate of James Mathes for making possible my graduate study at Florida State University. And I am grateful to Denise Von Glahn for her insight and support. Moreover, I would like to express my deepest gratitude to the College of Music at Florida State University for giving me a solid education and the best time of my life. Finally, thanks to my family in Argentina (Ma, Pa, Karina, and Linda) who encouraged me to follow my dreams and to work hard to make them come true. iii TABLE OF CONTENTS List of Figures.................................................................................................................. vii List of Musical Examples ................................................................................................ x List of Film Clips............................................................................................................. xii List of Tables ................................................................................................................... xiv Abstract ........................................................................................................................... xv 1. PRAGMATICS AND SEMIOTICS.................................................................... 1 1.1. Introduction.............................................................................................. 1 1.2. Pragmatics and Semiotics ........................................................................ 1 1.3. Pragmatic Processes................................................................................. 3 1.4. Semiotic Functions................................................................................... 4 1.5. Chapter Outline........................................................................................ 5 2. METAPHOR........................................................................................................ 10 2.1. Recognition of a Metaphor ...................................................................... 10 2.2. Conceptual Metaphor Theory .................................................................. 12 2.3. Multiple Targets for a Source, and Multiple Sources for a Target .......... 13 2.4. Unidirectionality and Asymmetry............................................................ 14 2.5. Similarity, Correlations, and Universality ............................................... 15 2.6. Conceptual Integration Networks ............................................................ 19 2.7. Irony......................................................................................................... 22 2.8. Metonymy................................................................................................ 25 3. QUALITATIVE ICONIC METAPHORS........................................................... 28 3.1. Introduction.............................................................................................. 28 3.2. Qualitative Iconic Metaphors in Film Music........................................... 29 3.3. Conclusion ............................................................................................... 40 4. STRUCTURAL ICONIC METAPHORS ........................................................... 41 4.1. Introduction.............................................................................................. 41 4.2. Cadential Events ...................................................................................... 41 4.3. Formal Design.......................................................................................... 47 4.4. Troping..................................................................................................... 54 4.5. Conclusion ............................................................................................... 58 5. SYMBOLIC METAPHORS................................................................................ 60 5.1. Introduction.............................................................................................. 60 5.2. The Compilation Score ............................................................................ 60 iv 5.3. Pre-Existing Instrumental Music ............................................................. 65 5.4. Conclusion ............................................................................................... 71 6. IRONY................................................................................................................. 72 6.1. Introduction.............................................................................................. 72 6.2. Precedents of Analysis of Irony............................................................... 72 6.3. Analytical Model for Irony...................................................................... 77 6.4. Irony in Film Music ................................................................................. 81 6.5. Conclusion ............................................................................................... 86 7. INTRODUCTION TO SEMIOTICS................................................................... 87 7.1. Introduction.............................................................................................. 87 7.2. From Ancient Theories to Saussure and Peirce ....................................... 87 7.3. Ferdinand de Saussure ............................................................................. 90 7.4. The Two-Part Model of the Sign ............................................................. 91 7.5. Connotation and Denotation .................................................................... 92 7.6. Charles Sanders Peirce............................................................................. 94 7.7. The Three-Part Model of the Sign ........................................................... 94 8. MUSICAL SEMIOTICS ..................................................................................... 97 8.1. Introduction.............................................................................................. 97 8.2. Introversive Semiotics ............................................................................. 98 8.3. Extroversive semiotics.............................................................................104 8.4. Combination of Introversive and Extroversive Semiotics.......................108 8.5. Polysemy..................................................................................................110 8.6. Minimal Units of Meaning.......................................................................111 8.7. Connotation and Denotation ....................................................................112 8.8. Universals ................................................................................................114 9. ICONIC SIGNS: TRADITIONAL SOUND DESIGN AND ONMATOPAEIA116 9.1. Introduction..............................................................................................116 9.2. Sound Design...........................................................................................116 9.2.1 Reverb 9.2.2 Equalization and Volume 9.2.3 Sound Placement 9.2.4 Envelope and Duration 9.3. Onomatopoeia..........................................................................................122 9.4. Conclusion...............................................................................................125 10. NON-TRADITIONAL SOUND DESIGN..........................................................126 10.1. Introduction..............................................................................................126 v 10.2. Two-Dimensional Taxonomic Structure of the Soundtrack ....................126 10.3. Interaction of Categories..........................................................................129 10.4. Overlapping..............................................................................................129 10.5. Replacement.............................................................................................131
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