Abstract
Abstract This study examines Luciano Berio's integration of twentieth-century linguistic and semiotic concepts in his works Sinfonia and Coro, focusing on the interplay between sound, meaning, and structure. It highlights Berio's exploration of the unconscious mind and the idea of ‘universality of experience', suggesting that humans may possess an innate musical ability similar to that of language. The article also discusses the concept of the ‘theatre of the mind', where Berio combines musical and textual elements to evoke images or situations for the audience's interpretation. Through an analysis of the third movement of Sinfonia and Coro, the study illustrates how Berio implicitly develops a system of signification that evokes meaning, showcasing both musical and textual productivity, along with the notion of ‘the infinite use of finite means’. This exploration contributes to understanding how twentieth-century linguistics and semiotics can inform contemporary music and signify meaning within it.
Published Version
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