Ziua și noaptea în semiotica muzicală
Day and night in musical semiotics

Summary/Abstract: In determining the message, meaning, and understanding of a musical discourse, semiotics plays an indispensable role. It is the science concerned with the typology of the sign, and with its help, symbols related to day and night can be analyzed in a musical context. To form a clearer image of the processes through which day and night have been represented in music, we consider the field of semiotics to have a decisive role. Therefore, this article has as its cornerstone semiotic analysis and specifically examines the role of semiotics in communicating diurnal and nocturnal aspects, with a focus on analysis methods relevant to day and night in music. Its goal is to determine to what extent works dedicated to day and night differ in content. The essence of the research focuses on certifying the existence of differences and similarities in the organization, structuring, and thinking of musical compositions with diurnal and nocturnal specifics. The study investigates the context in which the signs of day and night appear and are interpreted in music, their semiotic sphere, aiming at the development of semiotics as a method that offers the possibility of correctly interpreting musical events. There are three major names in musical semiotics, particularly relevant in the study of day and night in music: Eero Tarasti, Raymond Monelle, and Robert Hatten. Emphasizing the theories founded by them, we sought to discover new aspects of the analysis of day and night in music, deciphering that element of innovation that semiotics proposes.

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