Abstract
The purpose of this dissertation is to propose a theory of musical meaning for the performing musician by attempting to reconcile expressive theories of music with current trends in semiotic analysis. In this context, it is presupposed that both philosophical and theoretical approaches have merit in contributing to the discourse on musical meaning independently. Thus a model for analyzing a musical work, applied to issues related to the performance of that work, will be proposed. The guiding aim will be to assist in bridging the gap between the two modes of discourse: philosophical theories, which tend to avoid music theoretical terminology in articulating their claims, with semiotic analysis, which tends to favor more formalistic theoretical models of analysis, often subordinating the role of the expressive (or emotive) nature.
I will take, as a starting point, the seminal work of English musicologist Deryck Cooke entitled The Language of Music (1959). In the broader context of the discussion, it is hoped that a “rereading” of this text will prompt a deeper discussion of the nature of the relationship that exists between musical form and expression. The goal will be to show how Cooke’s methodology, in his reaction to formalism, has assisted in laying the foundation for current theories of semiotic analysis, while providing valuable insights for reconciling the merits of philosophical and theoretical discourses on musical meaning. Drawing on my training as a guitarist and vocalist, the last part of the dissertation will include a discursive analysis of selected vocal and instrumental compositions by the composer Fernando Sor (1778-1839), that will demonstrate the potential for such a methodology to assist in deciding critical issues related to musical performance and interpretation.
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