An attempt to reconsider an area that has become semiotically unknown: musical notation in its twentieth-century developments. What this study proposes is an introductory reflection to semiotics of notation considered both as a reflection on notation in the light of semiotics and as a semiotic work which is typical of notation as such. On the one hand, it is a matter of taking into account the historicity of the phenomenon and the semiotic reflection that has stimulated it; the particular scale of the problem in the period 1950-70 is then investigated in relation to causes that could be defined both as "internal" (the changed state of musical matter, serial and post-serial compositional practices, happening and improvisation) and "external" (the relationship with other sectors of culture: from visual arts to literature, to philosophy). On the other hand, the examples considered in the text are a test bench of absolute importance for the observation of the dynamics underlying a semiotically central problem such as that of notation, and of the double order (between what signs and what is signed) that it immediately evokes.
Contemporary Music Notation. Aesthetic and semiotic aspects
Andrea Valle
2018-01-01
Abstract
An attempt to reconsider an area that has become semiotically unknown: musical notation in its twentieth-century developments. What this study proposes is an introductory reflection to semiotics of notation considered both as a reflection on notation in the light of semiotics and as a semiotic work which is typical of notation as such. On the one hand, it is a matter of taking into account the historicity of the phenomenon and the semiotic reflection that has stimulated it; the particular scale of the problem in the period 1950-70 is then investigated in relation to causes that could be defined both as "internal" (the changed state of musical matter, serial and post-serial compositional practices, happening and improvisation) and "external" (the relationship with other sectors of culture: from visual arts to literature, to philosophy). On the other hand, the examples considered in the text are a test bench of absolute importance for the observation of the dynamics underlying a semiotically central problem such as that of notation, and of the double order (between what signs and what is signed) that it immediately evokes.
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