“Revolver” y dar de nuevo: una aproximación semiótica a la música de Los Beatles
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Los Beatles han sido considerados como una de las bandas
más innovadoras en la música popular de la segunda mitad
del siglo XX. En este sentido, su álbum Revolver marca el
comienzo de una nueva etapa musical: la experimentación
sonora. En este punto, sostenemos que en tanto producción
significante, el disco es el resultado de un complejo
procedimiento semiótico. En el presente trabajo nos
proponemos, a partir de las herramientas metodológicas
desarrolladas por la teoría de los Discursos sociales y
elementos de la Semiótica musical, acercarnos a esa obra
en particular en tanto fragmento de la “semiosis social”,
para analizar las distintas capas significantes que terminan
por construir el efecto de sentido. Ubicados en la instancia
de producción discursiva, se busca dar cuenta de cómo
esos pliegues figuran un paisaje sonoro psicodélico.
The Beatles have been considered as one of the most innovative bands in popular music of the second half of the twentieth century. In this sense, their Revolver album marks the beginning of a new stage musical: sound experimentation. At this point, we hold that as significant production, the album is the result of a complex semiotic process. In this paper we propose, from the methodological tools developed by the Theory of social discourses and elements of Musical semiotics, approach this work in particular as fragment of the “social semiosis” to analyze the different significant layers which ultimately construct the effect of meaning. In the instance of discursive production, seeks to account for how these folds include a psychedelic soundscape.
The Beatles have been considered as one of the most innovative bands in popular music of the second half of the twentieth century. In this sense, their Revolver album marks the beginning of a new stage musical: sound experimentation. At this point, we hold that as significant production, the album is the result of a complex semiotic process. In this paper we propose, from the methodological tools developed by the Theory of social discourses and elements of Musical semiotics, approach this work in particular as fragment of the “social semiosis” to analyze the different significant layers which ultimately construct the effect of meaning. In the instance of discursive production, seeks to account for how these folds include a psychedelic soundscape.