“différance” and intertextuality in the third movement of luciano berio'S sinfonia
- Autores: Eduardo F. Plaza
- Localización: Musicaenclave, Vol. 5, Nº. 3 (Septiembre-Diciembre), 2011
- Idioma: inglés
- Enlaces
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Resumen
Luciano Berio’s Sinfonia, premiered in 1968, is probably the most interpreted and analyzed postmodernist work in the last decades of the twentieth century. However, research and theoretical analysis have rarely transcended the purely musical aspect of this work. Beyond an analysis of the composer’s language and a meticulous description of the many literary and musical references which underlie its five movements, there are no studies, in my opinion, which deal with the work’s complex discursivity from a semiologic perspective. Using the post-structuralist focus of Jacques Derrida’s concept of différance, this essay attempts to address the semantic implications by the narrow relationship between Samuel Beckett’s novel, The Unnamable, and the scherzo from Mahler’s Second Symphony throughout the third movement of the Sinfonia. The movement’s eminently intertextual character undeniably entails a reterritorialization of meaning.
