THE APPLICATION OF CHARLES S. PEIRCE’S SEMIOTICS IN MUSICAL COMPOSITION
DOI:
https://doi.org/10.37536/quodlibet.2023.80.2247Keywords:
Musical composition, semiotics, intelligibility, Charles S. Peirce, creative processAbstract
This paper explains how Charles S. Peirce’s semiotics can be used in musical composition. The central premise guiding this study, based on Peirce’s writings, is that the introduction of ideas into what we hear enables us to connect the sounds we perceive, making them intelligible. Therefore, understanding what these ideas are and how they operate in music can become a valuable tool for musical composition. First, this paper presents some musical and non-musical examples to clarify how the introduction of ideas into the listening process connects sounds and makes them intelligible. Next, the core elements of Peirce’s semiotics are explained to outline the three general types of ideas that, within the musical realm, we introduce into what we hear. Finally, this paper examines, with examples, some potential applications of these ideas in musical composition.
Downloads
References
Atkin, Albert. Peirce. Londres y Nueva York: Routledge, 2016.
Celestialrailroad. «Bernard Parmegiani - Incidences / Résonances». Vídeo de Youtube, 4:00. Publicado el 05 de julio de 2012. https://youtu.be/aaHcT-3ssI4
Di Santo, Jean-Louis. «Analysis of Incidences, résonances by Bernard Parmegiani with an acousmatic score (acousmoscribe)». En Proceedings of the Electroacoustic Music Studies Network Conference - Electroacoustic Music Beyond Performance. Berlin: EMS-Network, 2014. http://www.ems-network.org/IMG/pdf_EMS14_disanto.pdf
Edson Zampronha. «Edson Zampronha – Sonora». Vídeo de Youtube, 10:09. Publicado el 16 de febrero de 2016. https://youtu.be/Kjl4q8qPmsY
Edson Zampronha. «El Gran Zumbidor (The Great Bullroarer)», audio de Soundcloud, 8:05. Publicado en 2023. https://on.soundcloud.com/8yUkQvNWMzSRYKCg6
Forte, Allen. The Structure of Atonal Music. New Haven: Yale University Press, 1973.
Grond, Florian y Jonathan Berger. «Parameter Mapping Sonification». En The Sonification Handbook, editado por Thomas Mermann, Andy Hunt y John G. Neuhoff, 363-397. Berlín: Logos, 2011.
José Aedo Lerdón. «György Ligeti - Atmospheres». Vídeo de Youtube, 8:56. Publicado el 12 de abril de 2017. https://youtu.be/RCNzwdLwA8g
López Cano, Rubén. Música y retórica en el Barroco. México: UNAM, 2000.
Musicnetmaterials. «Luciano Berio 6 encores for piano 1- Brin. Partitura. Audición.». Vídeo de Youtube, 1:36. Publicado el 08 de marzo de 2016. https://youtu.be/oIBfzKahNzI
Nöth, Winfried. Handbook of Semiotics. Bloomington: Indiana University, 1995.
Pankhurst, Tom. A Brief Handbook and Website for Schenkerian Analysis. Nueva York y Londres: Routledge, 2008.
Peirce, Charles Sanders. Collected Papers, editado por C. Hartshorne, P. Weiss y A. W. Burks. Bloomington: Indiana University, 1935 (8 vols.).
Peirce, Charles Sanders. The Essential Peirce. Vol. 2 (1893--1913), editado por N. Houser y C. Kloesel. Bloomington: Indiana University, 1998.
Salzer, Felix. Structural Hearing: Tonal Coherence in Music. Nueva York: Dover, 1962.
Santaella, Lúcia. A teoria geral dos signos. São Paulo: Ática, 1995.
Santaella, Lúcia. Matrizes Da Linguagem e Pensamento: sonoro visual verbal. São Paulo: Iluminuras/FAPESP, 2005.
Schoenberg, Arnold. Armonía. Madrid: Real Musical, 1974.
Schoenberg, Arnold. Fundamentals of musical composition, editado por Gerald Strang y Leonard Stein. Londres: Faber and Faber, 1980.
Sexis overrated. «Gilles Gobeil - Le Vertige Inconnu». Vídeo de Youtube, 8:30. Publicado el 10 de marzo de 2016. https://youtu.be/1D1H3JwuigY
Smalley, Denis. «Spectro-morphology and structuring processes». En The Language of Electroacustic Music, editado por Simon Emmerson, 61-96. Londres: Macmillan, 1986. DOI: https://doi.org/10.1007/978-1-349-18492-7_5
Zampronha, Edson. «Usando citações na música pós-moderna». En Arte e Cultura V – Estudos Interdisciplinares, editado por Maria de L. Sekeff y Edson Zampronha, 145-172. São Paulo: Annablume/FAPESP, 2009.
Zampronha, Edson. «La música concreta y la organización musical. Un análisis de Objets étendus, de Pierre Schaeffer». En Perspectivas actuales en la creación y el análisis de la música electroacústica, editado por Daniel E. Quaranta y Marcelo C. Lima. Bernal: Universidad Nacional de Quilmes, 2021 (EPUB).
Zampronha, Edson. «Ancestral Symbol: Musically Organizing Unpredictable Interactions to Create the Sound of a Paleolithic Cave Sign». Leonardo 55, n.º 4 (2022): 399–403. doi: https://doi.org/10.1162/leon_a_02050 DOI: https://doi.org/10.1162/leon_a_02050
Downloads
Published
Issue
Section
Categories
License
Copyright (c) 2025 Quodlibet. Revista de Especialización Musical
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
