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
