Abstract
Abstract In setting a text to music, a composer actively engages the text by manipulating it to serve an expressive end that coalesces into a multi-layered art form. Peirce’s conception of semeiotic with its emphasis on presentation, representation, and interpretation allows access to the thorny issues surrounding the relation of music and text in the art song. The analytic focus is on the use of the pastoral topic in Shubert’s setting of “Nur wer die Sehnsucht Kennt” (D. 877, No. 1).
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