Day and Night in Musical Semiotics

Semiotics is indispensable in determining the message or meaning of a musical discourse.It is the science concerned with the typology of the sign and with its help, day and night related symbols can be analysed in a musical context.We view semiotics as playing a decisive role in offering a clearer picture of how day and night have been represented in music.The present article, therefore, has semiotic analysis as its cornerstone and looks specifically at the role of semiotics in communicating diurnal and nocturnal aspects, with an emphasis on the methods of analysis relevant to the subject of day and night in music.Its purpose is to determine the extent to which the works dedicated to the day and night are different in content.The essence of our research lies in certifying the existence of certain differences and similarities in the organization, structuring and thinking of the musical compositions of diurnal and nocturnal character.The study investigates the context in which the signs of the day and night appear and are interpreted in music, their semiotic range, while also following the development of semiotics as a method that enables the correct interpretation of musical events.Three great names in musical semiotics are particularly relevant to the study of the day and night in music: Eero Tarasti, Raymond Monelle, and Robert Hatten.While emphasizing the theories established by them, we have sought to discover new analytical approaches to the day and night in music, unravelling that innovative element that semiotics proposes.