3--2 Musik und (Neue) Medien / Music and (New) Media

Scott MURPHY (Rochester, NY):

Semiotic Theories of Meaning and Evolution of Meaning in Film Music

Annette DAVISON (Sheffield):

'Up in Flames': Signs of Love, Control, and Collaboration in the Soundtrack to David Lynch's Wild at Heart

John STYLE (Tarragona):

Elgar's Enigma as a Floating Musical Sign: Irony in the Use of Classical Music in Film

Neil RANDALL, Isabel PEDERSEN (Waterloo, Ont.):

Songs for a Silent Medium: Evoked Music and the Synaesthetic Design of Websites

Fernando IAZZETTA (São Paulo), Fabio KON (Urbana, IL):

The Ephemeral Music of the Internet

Ronald W. RODMAN (Northfield, MN):

Musical Style Topoi, the Seme Mythique, and the Intersubjective in American Television Advertising

Peter D. SMITH (Tallahassee, FL):

Functional Music and the Fragmentation of the Myth

Gabriele PROY (Wien):

Soundscape & Sound Design

Magda SZAPU (Budapest):

Gegenwärtige Gruppierung/Sozialisierung der ungarischen/Kaposvárer Jugend (aufgrund musikalischer Sozioindikatoren)

Errol H. TOUT (Perth, W.A.):

Architecture & Music. The Connection between Constructs
 

3--3 Musik/Theater / Music/Theatre

H. James JENSEN (Bloomington, IN):

Signs and Meanings in Eighteenth-Century Dramatic Musical Performance: The Argument for Understanding a Diachronic Semiotics of Inter-Arts Interpretation

Chandler CARTER (New York, NY):

Signaling Truth and Lies: How Mozart and Stravinsky Use Music Signs to Manipulate Theatrical Distance

Harai GOLOMB (Tel Aviv):

Chekhov's Musicianship and Mozart's Dramaturgy: Interart Aspects in Their Works for the Stage

Michael EIGTVED (Copenhagen):

Miss Saigon, Shakuhachis, and Synthesizers: Studies in a disintegrated mega-musical

Jaroslaw MIANOWSKI (Poznan):

Die Rückkehr eines Vampirs. Zwischen romantischer Oper und postmoderner soap-opera

Linda FISHER (Windsor, Ont.):

Opera and the Musical Semiotics of Gender

Sigrid WIESMANN (Wien):

Opern im Fernsehen seit 1985. Aufführungspraxis und Medienästhetik

Judita PECAR (Sarajevo/Vienna):

The Role of Music in Bertolt Brecht's Songs

Christiane PANKOW (Göteborg):

Peter und der Wolf. Prokofievs musikalisches Märchen als multimedialer Text

Millie TAYLOR (Exeter):

'Evil' as a Musical Theatrical Convention
 

3--4 Wort & Musik / Word & Music

Dinda L. GORLÉE (The Hague/Innsbruck):

Intersemiosis: Words and Music in Opera

Ernest W.B. HESS-LÜTTICH (Bern):

Medien-Variationen: Musik-Zeichen (Benjamin Brittens Death in Venice)

Drina HOCEVAR (Helsinki):

Euphony or Musicality of Poetry

Danuse KSICOVÁ (Brno):

The Music Principle of the Russian Modernism

Talia JIMENEZ-RAMIREZ (New York, NY):

Language, Music and Context: Humor in Silvestre Revuelta's Duo para pato y canario

Josef WALLMANNSBERGER (Innsbruck/Kassel):

The Voice as Labour and Market: Calling Acts and Shots

Markus LINDA (Essen):

Zur Semiologie des Jodelns

Klaus ZERINSCHEK (Innsbruck):

Sprache, Zeichen, Musik: Schreibweisen bei Roland Barthes

Lujza TARI, Vilmos VOIGT (Budapest):

Signs on and through (Folk) Musical Instruments