Preface Costantino Maeder and Mark ReybrouckPart One. Setting the Stage: Music-In-Action, Semiotics, and IntermedialityMusic, Speech and Meaning in Interaction Ian CrossCapturing the Music: The Thin Line Between Mediation and Interference Zelia Chueke and Isaac ChuekePerformativity Through(out) Media: Analyzing Popular Music Performance in the Age of Intermediality Maurizio CorbellaPart Two. Representation, Interpretation, and MeaningReading a Work of Music from the Perspective of Integral Interpretation Mieczyslaw TomaszewskiLa musique au second degré : on Gérard Genette's Theory of Transtextuality and its Musical Relevance Paulo F. de CastroSemiotic Narrativization Processes Nicolas MartyMusical Understanding: Wittgenstein, Ethics, and Aesthetics Paulo C. ChagasWhere to Draw the Line? Representation in Intermedial Song Analysis Lea Maria Lucas WierødPart Three. Experience, Cognition, and Affect The Ability of Tonality Recognition as One of Human-Specific Adaptations Piotr PodlipniakMusical Semiotics and Analogical Reference Lawrence M. ZbikowskiThe Other Semiotic Legacy of Charles Sanders Peirce: Ethology and Music-Related Emotion David HuronPart Four. Intermediality and Transdisciplinarity The Death of Klinghoffer: From Stage to Screen Maarten NellestijnThe Perception of Art Songs Through Image: A Semiotic Approach Monica Pedrosa de Pádua“What Kind of Genre Do You Think We Are?” Genre Theories, Genre Names and Classes within Music Intermedial Ecology Gabriele MarinoPart Five. Analysis and BeyondA Story or Not a Story? Pascal Dusapin's Opera Roméo & Juliette and New Ways of Musical Narratives Malgorzata PawlowskaAuthorship, Narrativity and Ideology: The Case of Lennon-McCartney Dario MartinelliThe Sublime as a Topic in Beethoven's Late Piano Sonatas Jamie LiddleMelodic Forces and Agential Energies: An Integrative Approach to the Analysis and Expressive Interpretation of Tonal Melodies Robert S. HattenThe Embodiment of Yearning: Towards a Tripartite Theory of Musical Agency Rebecca ThumpstonEditorsContributors

Transdisciplinary and intermedial analysis of the experience of music. Nowadays musical semiotics no longer ignores the fundamental challenges raised by cognitive sciences, ethology, or linguistics. Creation, action and experience play an increasing role in how we understand music, a sounding structure impinging upon our body, our mind, and the world we live in. Not discarding music as a closed system, an integral experience of music demands a transdisciplinary dialogue with other domains as well. Music, Analysis, Experience brings together contributions by semioticians, performers, and scholars from cognitive sciences, philosophy, and cultural studies, and deals with these fundamental questionings. Transdisciplinary and intermedial approaches to music meet musicologically oriented contributions to classical music, pop music, South American song, opera, narratology, and philosophy. Contributors: Paulo Chagas (University of California, Riverside), Isaac and Zelia Chueke (Universidade Federal do Paraná, OMF/Paris-Sorbonne), Maurizio Corbella (Università degli Studi di Milano), Ian Cross (University of Cambridge), Paulo F. de Castro (CESEM/Departamento de Ciências Musicais; FCSH Universidade Nova de Lisboa), Robert S. Hatten (University of Texas at Austin), David Huron (School of Music, Ohio State University), Jamie Liddle (The Open University), Gabriele Marino (University of Turin), Dario Martinelli (Kaunas University of Technology; International Semiotics Institute), Nicolas Marty (Université Paris-Sorbonne), Maarten Nellestijn (Utrecht University), Malgorzata Pawlowska (Academy of Music in Krakow), Mônica Pedrosa de Pádua (Federal University of Minas Gerais, UFMG), Piotr Podlipniak (Adam Mickiewicz University, Poznan), Rebecca Thumpston (Keele University), Mieczyslaw Tomaszewski (Academy of Music in Krakow), Lea Maria Lucas Wierød (Aarhus University), Lawrence M. Zbikowski (University of Chicago)