Arte, música y semántica de autores. Un caso práctico: Fernando Remacha y la poética del 27

Abstract

The criterion that music can full file the functions of a language or at least look like a language, has sat the basis to formulate theories that are partly based on a comparative analysis between language and musical language. But independently of such theories, composers have always assumed a determined poetry with respect to this matter. The intention with this article is to analyse the roots of the problem in terms of an aesthetic experience, while revising some of the various proposals that have been formulated throughout history. Concretely, and focusing exclusively on the work by Fernando Remacha, the contradictions that a rise between the aesthetic theory, poetry and composing practice in connection with such a topic are revealed in a frank and direct manner.