<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2007-2538</journal-id>
<journal-title><![CDATA[Valenciana]]></journal-title>
<abbrev-journal-title><![CDATA[Valenciana]]></abbrev-journal-title>
<issn>2007-2538</issn>
<publisher>
<publisher-name><![CDATA[Universidad de Guanajuato, Departamentos de Filosofía y de Letras Hispánicas]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2007-25382020000200155</article-id>
<article-id pub-id-type="doi">10.15174/rv.vi26.486</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[La conformación sígnica del texto musical bajo la perspectiva de filósofos y críticos del arte]]></article-title>
<article-title xml:lang="en"><![CDATA[The signic conformation of the musical text under the perspective of Philosophers and Critics Art]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Ramírez Paredes]]></surname>
<given-names><![CDATA[Jesús Eduardo]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad de Sonora  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Mexico</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>12</month>
<year>2020</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>12</month>
<year>2020</year>
</pub-date>
<volume>13</volume>
<numero>26</numero>
<fpage>155</fpage>
<lpage>182</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S2007-25382020000200155&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S2007-25382020000200155&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S2007-25382020000200155&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen Los compositores han depositado en sus textos ideas o emociones gracias al uso de signos como en el lenguaje escrito. Es difícil pensar que las manipulaciones de los materiales musicales no alcanzan significado alguno y quedan como un hecho carente de la participación afectiva del compositor. En los tratados de música, muy pocas veces se abre el espacio para dimensionar ampliamente nociones como la de texto musical, signo, estado afectivo, lenguaje y discurso. Por ello, apelo a la fuerza inventiva de la filosofía -como disciplina para generar conceptos que proporcionen esquemas de pensamiento útiles para articular saberes provenientes de diferentes disciplinas- para responder las siguientes cuestiones: ¿De un texto musical, emerge significado alguno? ¿Un texto musical, acaso comunica?]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract Composers have written in their texts ideas or emotions thanks to the use of signs in the written language. It&#8217;s hard to imagine that manipulations of musical material can&#8217;t reach any significance and they stay as a fact lacking the affective intervention from the composer. In musical treaties, we can barely find opportunities to broaden the notions of musical text, sign, emotional state and discourse. Because of this, I appeal to the creative force of philosophy -as a discipline to generate concepts that lead to schemes of thought useful to articulate knowledge coming from different disciplines- to respond the following questions: Does any meaning result from a musical text? Does a musical text communicate?]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[estado afectivo]]></kwd>
<kwd lng="es"><![CDATA[pensamiento discursivo]]></kwd>
<kwd lng="es"><![CDATA[retórica]]></kwd>
<kwd lng="es"><![CDATA[signo]]></kwd>
<kwd lng="es"><![CDATA[unidades de lenguaje]]></kwd>
<kwd lng="en"><![CDATA[Affective state]]></kwd>
<kwd lng="en"><![CDATA[Discursive thinking]]></kwd>
<kwd lng="en"><![CDATA[Rhetoric]]></kwd>
<kwd lng="en"><![CDATA[Sign]]></kwd>
<kwd lng="en"><![CDATA[Language units]]></kwd>
</kwd-group>
</article-meta>
</front><back>
<ref-list>
<ref id="B1">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bajtin]]></surname>
<given-names><![CDATA[Mijail]]></given-names>
</name>
<name>
<surname><![CDATA[Kriukova]]></surname>
<given-names><![CDATA[Helena S.]]></given-names>
</name>
<name>
<surname><![CDATA[Cascarra]]></surname>
<given-names><![CDATA[Vicente]]></given-names>
</name>
</person-group>
<source><![CDATA[Teoría y estética de la novela]]></source>
<year>1978</year>
<publisher-loc><![CDATA[España ]]></publisher-loc>
<publisher-name><![CDATA[Taurus]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B2">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bajtin]]></surname>
<given-names><![CDATA[Mijail]]></given-names>
</name>
<name>
<surname><![CDATA[Navarro]]></surname>
<given-names><![CDATA[Desiderio]]></given-names>
</name>
</person-group>
<source><![CDATA[Autor y héroe]]></source>
<year>1994</year>
<page-range>109-30</page-range></nlm-citation>
</ref>
<ref id="B3">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Roland]]></surname>
<given-names><![CDATA[Barthes]]></given-names>
</name>
</person-group>
<source><![CDATA[El grano de la voz]]></source>
<year>1985</year>
<publisher-loc><![CDATA[México ]]></publisher-loc>
<publisher-name><![CDATA[Siglo XXI]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B4">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Barthes]]></surname>
<given-names><![CDATA[Roland]]></given-names>
</name>
</person-group>
<source><![CDATA[Análisis Estructural del Relato]]></source>
<year>1999</year>
<publisher-loc><![CDATA[México ]]></publisher-loc>
<publisher-name><![CDATA[Ediciones Coyoacán]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B5">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bergson]]></surname>
<given-names><![CDATA[Henry]]></given-names>
</name>
</person-group>
<source><![CDATA[Cours de psychologie et méthaphysique]]></source>
<year>1990</year>
<volume>I</volume>
<publisher-loc><![CDATA[París ]]></publisher-loc>
<publisher-name><![CDATA[Preses Universitaries de France]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B6">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Calabresse]]></surname>
<given-names><![CDATA[Omar]]></given-names>
</name>
</person-group>
<source><![CDATA[El lenguaje del arte]]></source>
<year>1997</year>
<publisher-loc><![CDATA[España ]]></publisher-loc>
<publisher-name><![CDATA[Ediciones Paidos]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B7">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Deleuze]]></surname>
<given-names><![CDATA[Gilles]]></given-names>
</name>
</person-group>
<source><![CDATA[¿Qué es el acto de creación? Conferencia en la Femis (Escuela Superior de Oficios de Imagen y Sonido)]]></source>
<year>1987</year>
<publisher-loc><![CDATA[París ]]></publisher-loc>
</nlm-citation>
</ref>
<ref id="B8">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Deleuze]]></surname>
<given-names><![CDATA[Gilles]]></given-names>
</name>
<name>
<surname><![CDATA[Kauf]]></surname>
<given-names><![CDATA[Thomas]]></given-names>
</name>
</person-group>
<source><![CDATA[¿Qué es la filosofía?]]></source>
<year>2005</year>
<publisher-loc><![CDATA[Barcelona ]]></publisher-loc>
<publisher-name><![CDATA[Anagrama]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B9">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Foucault]]></surname>
<given-names><![CDATA[Michel]]></given-names>
</name>
<name>
<surname><![CDATA[Garzón del Camino]]></surname>
<given-names><![CDATA[Aurelio]]></given-names>
</name>
</person-group>
<source><![CDATA[Vigilar y castigar: nacimiento de la prisión]]></source>
<year>2002</year>
<publisher-loc><![CDATA[Argentina ]]></publisher-loc>
<publisher-name><![CDATA[Siglo Veintiuno]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B10">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Hernández]]></surname>
<given-names><![CDATA[Oscar]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[La semiótica musical como herramienta para el estudio social de la música]]></article-title>
<source><![CDATA[Cuadernos de música, artes visuales y artes escénicas]]></source>
<year>2012</year>
<volume>7</volume>
<numero>1</numero>
<issue>1</issue>
</nlm-citation>
</ref>
<ref id="B11">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Kristeva]]></surname>
<given-names><![CDATA[Julia]]></given-names>
</name>
</person-group>
<source><![CDATA[Semiótica 1]]></source>
<year>1998</year>
<publisher-loc><![CDATA[Madrid ]]></publisher-loc>
<publisher-name><![CDATA[Editorial Fundamentos]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B12">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Langer]]></surname>
<given-names><![CDATA[Susanne]]></given-names>
</name>
</person-group>
<source><![CDATA[Esquemas filosóficos]]></source>
<year>1962</year>
</nlm-citation>
</ref>
<ref id="B13">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Langer]]></surname>
<given-names><![CDATA[Susanne]]></given-names>
</name>
<name>
<surname><![CDATA[Cárdenas]]></surname>
<given-names><![CDATA[Mario]]></given-names>
</name>
<name>
<surname><![CDATA[Octavio Hernández]]></surname>
<given-names><![CDATA[Luis]]></given-names>
</name>
</person-group>
<source><![CDATA[Sentimiento y forma: una teoría del arte desarrollada a partir de una Nueva clave de la Filosofía]]></source>
<year>1967</year>
<publisher-loc><![CDATA[México ]]></publisher-loc>
<publisher-name><![CDATA[Centro de estudios filosóficos]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B14">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[López Cano]]></surname>
<given-names><![CDATA[Rubén]]></given-names>
</name>
</person-group>
<source><![CDATA[Semiótica, semiótica de la música y semiótica cognitivo-enactiva de la música. Notas para un manual de usuario]]></source>
<year>2007</year>
</nlm-citation>
</ref>
<ref id="B15">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Meyer]]></surname>
<given-names><![CDATA[Leonard]]></given-names>
</name>
</person-group>
<source><![CDATA[Emotion and meanning in music]]></source>
<year>1956</year>
<publisher-loc><![CDATA[Chicago ]]></publisher-loc>
<publisher-name><![CDATA[University of Chicago Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B16">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Gago]]></surname>
<given-names><![CDATA[Paz]]></given-names>
</name>
<name>
<surname><![CDATA[María]]></surname>
<given-names><![CDATA[José]]></given-names>
</name>
</person-group>
<source><![CDATA[La recepción del poema. Pragmática del texto poético]]></source>
<year>1999</year>
<publisher-loc><![CDATA[España ]]></publisher-loc>
<publisher-name><![CDATA[Edition Reichenberger]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B17">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Yvancos]]></surname>
<given-names><![CDATA[Pozuelo]]></given-names>
</name>
<name>
<surname><![CDATA[María]]></surname>
<given-names><![CDATA[José]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[La teoría literaria en el siglo XX]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Villanueva]]></surname>
</name>
</person-group>
<source><![CDATA[Curso de teoría de la literatura]]></source>
<year>1994</year>
<publisher-loc><![CDATA[Madrid ]]></publisher-loc>
<publisher-name><![CDATA[Taurus]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B18">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Van Dijk]]></surname>
<given-names><![CDATA[Teun A.]]></given-names>
</name>
<name>
<surname><![CDATA[Domingo Moyano]]></surname>
<given-names><![CDATA[Juan]]></given-names>
</name>
</person-group>
<source><![CDATA[Texto y contexto (semántica y pragmática del discurso)]]></source>
<year>1980</year>
<publisher-loc><![CDATA[Madrid ]]></publisher-loc>
<publisher-name><![CDATA[Ediciones Cátedra]]></publisher-name>
</nlm-citation>
</ref>
</ref-list>
</back>
</article>
