From Wikipedia, the free encyclopedia

Semiotics/Semeiotics
General concepts
Biosemiotics · Code
Computational semiotics
Connotation · Decode
Denotation · Encode
Lexical · Modality
Salience · Sign
Sign relation · Sign relational complex
Semiosis · Semiosphere
Semiotic literary criticism
Triadic relation
Umwelt · Value
Methods
Commutation test Paradigmatic analysis Syntagmatic analysis
Semioticians
Roland Barthes · Marcel Danesi
Ferdinand de Saussure
Umberto Eco · Louis Hjelmslev
Roman Jakobson · Roberta Kevelson
Charles Peirce · Thomas Sebeok
Topics of interest
Aestheticization as propaganda Aestheticization of violence Americanism
Semiotics of Ideal Beauty

Paradigmatic analysis is the analysis of paradigms embedded in the text rather than of the surface structure (syntax) of the text which is termed syntagmatic analysis. Paradigmatic analysis often uses commutation tests, i.e. analysis by substituting words of the same type or class to calibrate shifts in connotation. ([1])

Contents 1 Definition of terms 2 General Discussion 3 Applied to music 4 Source

In semiotics, the sign is the fundamental building block out of which all meaning is constructed and transmitted. Meaning is encoded by the sender of the message and decoded by the receiver recalling past experience and placing the message in its appropriate cultural context. Individual signs can be collected together to form more complex signs, i.e. building up from linguistics, groups of sounds (and the letters to represent them) form words, groups of words form sentences, sentences form narratives, etc. The constructed signs are called syntagms (see syntagmatic structure) and each collection may be a paradigm. Thus, in the English language, the alphabet is the paradigm from which the syntagms of English words are formed. The set of English words collected together in a lexicon become the paradigm from which sentences are formed, etc. Hence, paradigmatic analysis is a method for exploring a syntagm by identifying its constituent paradigm, studying the individual paradigmatic elements, and then reconstructing the process by which the syntagm takes on meaning.

Roman Jakobson introduced a theory to explain the function of spoken language in human communication. This model has two levels of description:

• the various component elements forming language, and
• what humans do with the language when they use it.

In the first place, every language has a vocabulary and a syntax. Its elements are words with fixed denotative meanings. Out of these one can construct, according to the rules of the syntax, composite symbols with resultant new meanings. Secondly, in a language, some words are equivalent to whole combinations of other words, so that most meanings can be expressed in several different ways. Studies of human perception show that to some extent, what people perceive depends on what they expect to perceive. David Ritchie proposes that communication creates relationships between what is perceived or known by one person and what is perceived or known by others; the form of the communication will be determined in part by whether there are pre-existing relationships between the communicator and the audience. The receiver and originator of a message must work from some common understanding of what sorts of patterns are used to communicate and how these patterns are related to other events. Communication has to do with community both in the sense that it relies on having something in common in the first place and in the sense that it can influence what the communicants subsequently have in common.

In music, paradigmatic analysis was a method of musical analysis developed by Nicolas Ruwet during the 1960s but later named by others. It is "based on the concept of 'equivalence'. Ruwet argued that the most striking characteristic of musical syntax was the central role of repetition - and, by extension, of varied repetition or transformation (Ruwet 1987)." (Middleton 1990, p.183).

Paradigmatic analysis assumes that Roman Jakobson's description of the poetic system (1960, p.358) applies to music and that in both a "projection of the principle of equivalence from the axis of selection on to the axis of combination" occurs. Thus paradigmatic analyses is able to base the assignment of units entirely on repetition so that "anything repeated (straight or varied) is defined as a unit, and this is true on all levels," from sections to phrases and individual sounds. (Middleton, ibid)

• Middleton, Richard (1990/2002). Studying Popular Music. Philadelphia: Open University Press. ISBN 0-335-15275-9.