Semiotics of Music

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Semiotics of Music: Analysis of White Room by Cream Introduction In western today, there are two major types of music that prevail. On the one hand, there is classical music, choir music generally performed by solo artists. On the other hand, there is popular music or rock music performed by rock groups. This article provides a detailed semiotic analysis of “white room” by Cream in the 1968. The period, after the 1940-1950 eras, was when rock’ n roll began to take shape (Anthony Gribin & Matthew Schiff, 1992) Musical semiotics is essentially a new concept of musical analysis. Also it is very subjective. Although it can be applied to all forms of music, it is best used on dance and program music. (Semiotics analysis, 2009)…show more content…
However, “you really got me” was more power for the young generation to dance and hit. “You really got me” was an early hit song built around power chords. The kinks’ “you really got me”guitar riff shows below: It is clear from listening to “you really got me” that one bar guitar riff contains one main musical gestures which is tow quaver chords heard at the beginning of the riff. Chords tow, three and five are the same; the fourth chord can be described as a “neighbor chord”. Also the first chord and fifth chord was same. That means the riff would repeat all the times. Therefore, the musical expression of this song could more represent dance and hit. Furthermore, compare to “white room” the movement of this song also represents kick and jump. All in all, “white room” has relatively clear paramusical fields of connotation. Before we discussed how the cultural expression were related to the musical expression, how changes in style of dress and music sytle occurred at the same time. The CD cover and dancing movement were also associated with the rock music develop. Patterns of musical structure Analysis of “White Room” includes disassembling the song to determine its musical patterns, or structures. The search for musical patterns is central to semiotic analysis. Many musical pieces are structured in various components that can naturally be associated with the notion of pattern (Benoit
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