Analysis of an analysis

Tarasti on Liszt

Authors

Keywords:

Liszt, Tarasti, Musical semiotics, Vallée d’Obermann

Abstract

In his fundamental book, A Theory of Musical Semiotics, Eero Tarasti endeavors to analyze Liszt’s piano work
Vallée d’Obermann from the point of view of semiotics. In a process of clever musical archaeology, the author reveals
the many layers that color the score of the Hungarian composer. The present article intends to make a few observations
at the margin of this text, trying to detail and comment the analysis by one of the most important Semiotics theorists
in the world.

Author Biography

  • Laura Tausz Rónai, Federal University of the State of Rio de Janeiro (UNIRIO) (Brazil)

    A flutist, she holds a BA in Music from UNIRIO and a BA in Flute Performance from the State University of New York. She earned a Master of Music degree from the City University of New York (Hunter College) and a Doctorate in Interpretive Practices from UNIRIO. He has taught courses at the Real Conservatório Superior de Madrid and, in the USA, at Rutgers and Princeton Universities. He has visited England, invited by the British Council, and has given recitals in the USA and Europe. He plays in duo with the pianist Ruth Serrão and the harpsichordist Sula Kossatz, with whom he is a member of the chamber groups Sine Nomine and Re-Toques. She conducts the UNIRIO Baroque Orchestra and is a music critic for the North American magazine Fanfare. Currently she is responsible for the transverse flute chair and professor of the Graduate Program in Music at the same institution.

References

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BERLIOZ, Hector. Mémoires (1865), Paris, Éditions Flammarion, 2000

MEIRELES, Cecília. Poesia Completa (Viagem, 1939), Rio de Janeiro, Editora Nova Fronteira, 2001.

GAUTHIER, André. Liszt, Classiques Hachette de Musique, Paris, Hachette, 1972.

GROUT, Donald. “The Nature of Romanticism” in GERBOTH, Walter et al. An introduction to music - Selected Readings, Nova Iorque, W.W. Norton, NY, 1964.

PESSOA, Fernando. Obra Poética (Poemas completos de Alberto Caeiro), Rio de Janeiro, Editora Nova Aguilar, 1976.

PROUST, Marcel. “Le Temps retrouvé” in A la recherche du Temps perdu, Paris, Éditions GF Flammarion, 2002.

QUANTZ On Playing the Flute, traduzido para o inglês por Edward Reilly, Londres, Faber and Faber, 1966.

SENANCOUR, Étienne Pivert de. Obermann (1804), traduzido para o inglês por Arthur Edward Waite, Montana, Kessinger Publishing, 2003.

STEFANI, Gino. A theory of musical competence. Semiotica. v. 66, n. 1/3, p.7-22 Amsterdam, Mouton de Gruyter, 1987.

TARASTI, Eero. A Theory of Musical Semiotics, Indiana, Indiana University Press, 1994.

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Published

2012-01-10

Issue

No. 25 (2012): General Topics

Section

Articles in Portuguese/Spanish

License

Creative Commons License

This work is licensed under a Creative Commons Attribution 4.0 International License.

Licença Creative Commons
Except where otherwise noted, contents on this site are licensed under a  Creative Commons - Atribuição 4.0 Internacional.

How to Cite

“Analysis of an Analysis: Tarasti on Liszt”. 2012. Per Musi, no. 25 (January): 1-5. https://periodicos.ufmg.br/index.php/permusi/article/view/40317.

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