Analysis of an analysis: Tarasti on Liszt
In his fundamental book, A Theory of Musical Semiotics, Eero Tarasti endeavors to analyze Liszt’s piano workVallée d’Obermann from the point of view of semiotics. In a process of clever musical archaeology, the author revealsthe many layers that color the score of the Hungarian composer. The present...
| Author: | |
|---|---|
| Format: | article |
| Status: | Published version |
| Publication Date: | 2012 |
| Country: | Brasil |
| Institution: | Universidade Federal de Minas Gerais (UFMG) |
| Repository: | Per Musi |
| Language: | Portuguese |
| OAI Identifier: | oai:periodicos.ufmg.br:article/40317 |
| Online Access: | https://periodicos.ufmg.br/index.php/permusi/article/view/40317 |
| Access Level: | Open access |
| Keyword: | Liszt Tarasti Musical semiotics Vallée d’Obermann Semiologia musical Semiótica musical Vallée d'Obermann |
| Summary: | In his fundamental book, A Theory of Musical Semiotics, Eero Tarasti endeavors to analyze Liszt’s piano workVallée d’Obermann from the point of view of semiotics. In a process of clever musical archaeology, the author revealsthe many layers that color the score of the Hungarian composer. The present article intends to make a few observationsat the margin of this text, trying to detail and comment the analysis by one of the most important Semiotics theoristsin the world. |
|---|