Aguacero: A Semiotic Analysis of Paisaje Cubano con Lluvia by Leo Brouwer

Daniel Fernando Castro Pantoja

This article attempts to posit that semiotic analysis—as outlined by the Finnish semiotician Eero Tarasti—can come to be a viable and  efficient  exercise  that  conciliates  the  gap  between  verbal activity and an accurate portrayal of the inner knowledge of music. In the article, I briefly discuss the feasibility of said theory as seen through the works of Peirce, Agawu, Tarasti, Wittgenstein, and the composer  Paulo  Chagas.   However,  the  main  objective  of  this document  is  to  provide  a  semiotic  account  of  Leo  Brouwer´s Paisaje  Cubano  con  Lluvia,  following  Tarasti´s  comprehensive outline of what a music semiotic analysis should constitute.

Aguacero: A Semiotic Analysis of  Paisaje Cubano con Lluvia by Leo Brouwer

This entry was posted in Analisys of musical works, THE SPANISH GUITAR. Bookmark the permalink.

Leave a Reply

Your email address will not be published.


You may use these HTML tags and attributes: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <strike> <strong>