Chapter 1 formulates a semiotic theory of television music based on Charles Peirce's theory as transmitted through John Fiske and his “codes of television” model. Fiske's televisual levels of “reality,” representation, and ideology are linked with theories of musical meaning, especially when visual images and sounds of television are present. These theories are employed in an analysis of the opening credits to the 1950s western The Rifleman.
Keywords: television music; musical semiotics; correlation; John Fiske; television westerns
Chapter. 10663 words. Illustrated.
Subjects: Popular Music ; American Music
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