{"id":{"repo_id":"aachen","oai_identifier":"oai:publications.rwth-aachen.de:48740"},"canonical_url":"https://search.dev.ndltd.org/etd/aachen/oai:publications.rwth-aachen.de:48740","repository":{"repo_id":"aachen","name":"RWTH Aachen University","base_url":"https://publications.rwth-aachen.de/oai2d"},"display":{"title":"Musik Transkription Sprache : musikalische Bearbeitung als Sinnerzeugung?","abstract":"How do semantic effects in music emerge? What is the semantic impact of different musical adaptations on the semantics of music? In order to address these questions a linguistic model, the so-called “theory of the transcriptural logic of cultural semantics” developed by Ludwig Jäger, is transferred to the domain of music. The basic term “transcription” is tested in an interdisciplinary way in order to draw conclusions on the functions and effects of musical transformations. The generation of the symbol-system music as well as other media-systems is analysed. The term “transcription” refers to a dominant operation within and/or between media-systems (e.g. language, music, visual art). The theory argues that so-called “scriptures” (e.g. texts, songs, pictures) circulate as a part of cultural knowledge or that they are stored in cultural memory. Via transcription a scripture is cut from its ‘original’ context and embedded in a new one. Thus, an infinite circle of re- and de-contextualization is generated. As a result, scriptures are addressed and read in a new way. The new interrelations which are created by transcriptive operations generate genuine semantic effects. Transcription is regarded as basic cultural strategy by which sense is created. In my thesis I apply the terminology of the theory of transcription to different musical techniques like quotation, collage, montage, variation and digital sampling. The transfer demonstrates that transcriptural practices are relevant in each époque and genre in the history of music. In musical references and intermedial relations between music, language and pictures the tension between ‘original’ and alien/foreign musical structures becomes apparent. This friction is crucial for the emergence of new semantic effects and transcription can be regarded as an essential practice for the formulation of new ideas and for creating a new sense. The theory of transcription shows music as a constant movement which is driven by transformation and the interplay of repetition and contrast.","abstract_html":"How do semantic effects in music emerge? What is the semantic impact of different musical adaptations on the semantics of music? In order to address these questions a linguistic model, the so-called “theory of the transcriptural logic of cultural semantics” developed by Ludwig Jäger, is transferred to the domain of music. The basic term “transcription” is tested in an interdisciplinary way in order to draw conclusions on the functions and effects of musical transformations. The generation of the symbol-system music as well as other media-systems is analysed. The term “transcription” refers to a dominant operation within and/or between media-systems (e.g. language, music, visual art). The theory argues that so-called “scriptures” (e.g. texts, songs, pictures) circulate as a part of cultural knowledge or that they are stored in cultural memory. Via transcription a scripture is cut from its ‘original’ context and embedded in a new one. Thus, an infinite circle of re- and de-contextualization is generated. As a result, scriptures are addressed and read in a new way. The new interrelations which are created by transcriptive operations generate genuine semantic effects. Transcription is regarded as basic cultural strategy by which sense is created. In my thesis I apply the terminology of the theory of transcription to different musical techniques like quotation, collage, montage, variation and digital sampling. The transfer demonstrates that transcriptural practices are relevant in each époque and genre in the history of music. In musical references and intermedial relations between music, language and pictures the tension between ‘original’ and alien/foreign musical structures becomes apparent. This friction is crucial for the emergence of new semantic effects and transcription can be regarded as an essential practice for the formulation of new ideas and for creating a new sense. The theory of transcription shows music as a constant movement which is driven by transformation and the interplay of repetition and contrast.","abstract_has_math":false,"creators":["Ullrich, Anna Valentine"],"institution":"Publikationsserver der RWTH Aachen University","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":["Jäger, Ludwig"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2006,"date_issued":"2006","date_published":"2006","updated_at":"2026-07-30T19:40:01Z","subjects":["info:eu-repo/classification/ddc/400","Sprache","Musik","Bild","Transkription","Semantik","Musikalische Semantik","Bearbeitung","Kollektives Gedächtnis","Transkription/Musik","Zitat/Musik","Sprachwissenschaft, Linguistik","Sinnerzeugung","Skriptur","Collage","Montage"],"languages":["ger"],"rights":["info:eu-repo/semantics/openAccess"],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["https://publications.rwth-aachen.de/search?p=id:%22RWTH-CONV-112336%22"],"render_values":[{"text":"https://publications.rwth-aachen.de/search?p=id:%22RWTH-CONV-112336%22","href":"https://publications.rwth-aachen.de/search?p=id:%22RWTH-CONV-112336%22","code":true}]}]},"links":{"outbound_url":"https://publications.rwth-aachen.de/record/48740","outbound_label":"Repository record","outbound_source":"dc:identifier"},"source_record":{"url":"https://publications.rwth-aachen.de/oai2d?verb=GetRecord&metadataPrefix=oai_dc&identifier=oai%3Apublications.rwth-aachen.de%3A48740","prefix":"oai_dc"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Jäger, Ludwig"]},{"key":"dc:creator","label":"Author","values":["Ullrich, Anna Valentine"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:coverage","label":"Dc Coverage","values":["DE"]},{"key":"dc:date","label":"Dc Date","values":["2006"]},{"key":"dc:publisher","label":"Institution","values":["Publikationsserver der RWTH Aachen University"]},{"key":"dc:relation","label":"Dc Relation","values":["info:eu-repo/semantics/altIdentifier/doi/10.18154/RWTH-CONV-112336","info:eu-repo/semantics/altIdentifier/urn/urn:nbn:de:hbz:82-opus-15309"]},{"key":"dc:type","label":"Dc Type","values":["info:eu-repo/semantics/masterThesis","info:eu-repo/semantics/publishedVersion"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["info:eu-repo/classification/ddc/400","Sprache","Musik","Bild","Transkription","Semantik","Musikalische Semantik","Bearbeitung","Kollektives Gedächtnis","Transkription/Musik","Zitat/Musik","Sprachwissenschaft, Linguistik","Sinnerzeugung","Skriptur","Collage","Montage"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["ger"]},{"key":"dc:rights","label":"Dc Rights","values":["info:eu-repo/semantics/openAccess"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://publications.rwth-aachen.de/record/48740","https://publications.rwth-aachen.de/search?p=id:%22RWTH-CONV-112336%22"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["How do semantic effects in music emerge? What is the semantic impact of different musical adaptations on the semantics of music? In order to address these questions a linguistic model, the so-called “theory of the transcriptural logic of cultural semantics” developed by Ludwig Jäger, is transferred to the domain of music. The basic term “transcription” is tested in an interdisciplinary way in order to draw conclusions on the functions and effects of musical transformations. The generation of the symbol-system music as well as other media-systems is analysed. The term “transcription” refers to a dominant operation within and/or between media-systems (e.g. language, music, visual art). The theory argues that so-called “scriptures” (e.g. texts, songs, pictures) circulate as a part of cultural knowledge or that they are stored in cultural memory. Via transcription a scripture is cut from its ‘original’ context and embedded in a new one. Thus, an infinite circle of re- and de-contextualization is generated. As a result, scriptures are addressed and read in a new way. The new interrelations which are created by transcriptive operations generate genuine semantic effects. Transcription is regarded as basic cultural strategy by which sense is created. In my thesis I apply the terminology of the theory of transcription to different musical techniques like quotation, collage, montage, variation and digital sampling. The transfer demonstrates that transcriptural practices are relevant in each époque and genre in the history of music. In musical references and intermedial relations between music, language and pictures the tension between ‘original’ and alien/foreign musical structures becomes apparent. This friction is crucial for the emergence of new semantic effects and transcription can be regarded as an essential practice for the formulation of new ideas and for creating a new sense. The theory of transcription shows music as a constant movement which is driven by transformation and the interplay of repetition and contrast."]},{"key":"dc:source","label":"Dc Source","values":["Aachen : Publikationsserver der RWTH Aachen University 103 S. (2006). doi:10.18154/RWTH-CONV-112336 = Aachen, Techn. Hochsch., Magisterarbeit, 2004"]},{"key":"dc:title","label":"Title","values":["Musik Transkription Sprache : musikalische Bearbeitung als Sinnerzeugung?"]}]}],"canonical_facts":{"dc:contributor":["Jäger, Ludwig"],"dc:coverage":["DE"],"dc:creator":["Ullrich, Anna Valentine"],"dc:date":["2006"],"dc:description":["How do semantic effects in music emerge? What is the semantic impact of different musical adaptations on the semantics of music? In order to address these questions a linguistic model, the so-called “theory of the transcriptural logic of cultural semantics” developed by Ludwig Jäger, is transferred to the domain of music. The basic term “transcription” is tested in an interdisciplinary way in order to draw conclusions on the functions and effects of musical transformations. The generation of the symbol-system music as well as other media-systems is analysed. The term “transcription” refers to a dominant operation within and/or between media-systems (e.g. language, music, visual art). The theory argues that so-called “scriptures” (e.g. texts, songs, pictures) circulate as a part of cultural knowledge or that they are stored in cultural memory. Via transcription a scripture is cut from its ‘original’ context and embedded in a new one. Thus, an infinite circle of re- and de-contextualization is generated. As a result, scriptures are addressed and read in a new way. The new interrelations which are created by transcriptive operations generate genuine semantic effects. Transcription is regarded as basic cultural strategy by which sense is created. In my thesis I apply the terminology of the theory of transcription to different musical techniques like quotation, collage, montage, variation and digital sampling. The transfer demonstrates that transcriptural practices are relevant in each époque and genre in the history of music. In musical references and intermedial relations between music, language and pictures the tension between ‘original’ and alien/foreign musical structures becomes apparent. This friction is crucial for the emergence of new semantic effects and transcription can be regarded as an essential practice for the formulation of new ideas and for creating a new sense. The theory of transcription shows music as a constant movement which is driven by transformation and the interplay of repetition and contrast."],"dc:identifier":["https://publications.rwth-aachen.de/record/48740","https://publications.rwth-aachen.de/search?p=id:%22RWTH-CONV-112336%22"],"dc:language":["ger"],"dc:publisher":["Publikationsserver der RWTH Aachen University"],"dc:relation":["info:eu-repo/semantics/altIdentifier/doi/10.18154/RWTH-CONV-112336","info:eu-repo/semantics/altIdentifier/urn/urn:nbn:de:hbz:82-opus-15309"],"dc:rights":["info:eu-repo/semantics/openAccess"],"dc:source":["Aachen : Publikationsserver der RWTH Aachen University 103 S. (2006). doi:10.18154/RWTH-CONV-112336 = Aachen, Techn. Hochsch., Magisterarbeit, 2004"],"dc:subject":["info:eu-repo/classification/ddc/400","Sprache","Musik","Bild","Transkription","Semantik","Musikalische Semantik","Bearbeitung","Kollektives Gedächtnis","Transkription/Musik","Zitat/Musik","Sprachwissenschaft, Linguistik","Sinnerzeugung","Skriptur","Collage","Montage"],"dc:title":["Musik Transkription Sprache : musikalische Bearbeitung als Sinnerzeugung?"],"dc:type":["info:eu-repo/semantics/masterThesis","info:eu-repo/semantics/publishedVersion"]},"updated_at":"2026-07-30T19:40:01Z"}