Cultural expression and semiotic adaptation: Tarasti’s framework in the study of modern music
Abstract
This article applies Eero Tarasti’s semiotic framework to analyze the syntactic, semantic, and pragmatic dimensions of contemporary music, demonstrating its relevance in understanding the multifaceted meanings embedded in modern compositions. Grounded in the theories of Ferdinand de Saussure and Charles Sanders Peirce, and further developed by Tarasti, this study employs a qualitative methodology that integrates theoretical analysis, case studies, and interdisciplinary perspectives. By examining works such as Max Richter’s Sleep (2015), Karl Jenkins’ The Armed Man: A Mass for Peace (2000), and John Luther Adams’ Become Ocean (2013), the research highlights how music functions as a dynamic system of signs within evolving technological, cultural, and global contexts. This study explores how contemporary music reflects complex meanings shaped by globalization, technology, and interdisciplinary practices. Using Eero Tarasti’s semiotic framework, it applies a qualitative approach combining theoretical analysis with case studies. Focusing on the syntactic, semantic, and pragmatic dimensions, the research examines works like Become Ocean by John Luther Adams and DAMN. by Kendrick Lamar. The findings show how these compositions interact with cultural and technological contexts, revealing the evolving semiotic roles of music in the 21st century. The analysis reveals that syntactic innovations—including minimalist repetition, hybrid instrumentation, and algorithmic processes—challenge traditional musical frameworks, creating new structural paradigms. Semantic exploration uncovers how composers embed cultural hybridity, symbolic narratives, and emotional depth within their works. Pragmatic analysis demonstrates the transformative role of digital platforms, participatory cultures, and globalized performances in shaping audience engagement and interpretation. By situating contemporary music within interdisciplinary intersections of technology, media, and cultural studies, this research underscores the enduring relevance of semiotics in decoding how compositions reflect and influence societal, technological, and cultural transformations. The study concludes that semiotic analysis enhances our understanding of music’s communicative power, affirming its critical role as a medium for cultural dialogue, technological innovation, and social commentary.
Keywords
Supporting Institution
No funding
Ethical Statement
No need to ethical committee approval
Thanks
The author would like to express sincere gratitude to the mentors and colleagues who provided valuable feedback and guidance during the development of this study. Special thanks are extended to the faculty and staff of the Department of Music Education, Faculty of Performing Arts, Indonesia Institute of the Arts of Yogyakarta, whose academic support and intellectual engagement helped shape the direction of this research. However, it is to be noted here that for this research, I have received no financial assistance but from my incentive.
Appreciation is also due to the scholars whose work on semiotics, cultural theory, and musicology laid the foundation for this inquiry, particularly those advancing the application of Tarasti’s framework. Their contributions continue to inspire critical exploration at the intersection of music, culture, and meaning.
Lastly, heartfelt thanks to family and friends for their patience, encouragement, and unwavering support throughout the writing process. Very lastly, I should also acknowledge that the English writing and translation of the manuscript were proofread by a Native English colleague of mine.
Cultural expression and semiotic adaptation: Tarasti’s framework in the study of modern music
Abstract
his article applies Eero Tarasti’s semiotic framework to analyze the syntactic, semantic, and pragmatic dimensions of contemporary music, demonstrating its relevance in understanding the multifaceted meanings embedded in modern compositions. Grounded in the theories of Ferdinand de Saussure and Charles Sanders Peirce, and further developed by Tarasti, this study employs a qualitative methodology that integrates theoretical analysis, case studies, and interdisciplinary perspectives. By examining works such as Max Richter’s Sleep (2015), Karl Jenkins’ The Armed Man: A Mass for Peace (2000), and John Luther Adams’ Become Ocean (2013), the research highlights how music functions as a dynamic system of signs within evolving technological, cultural, and global contexts. This study explores how contemporary music reflects complex meanings shaped by globalization, technology, and interdisciplinary practices. Using Eero Tarasti’s semiotic framework, it applies a qualitative approach combining theoretical analysis with case studies. Focusing on the syntactic, semantic, and pragmatic dimensions, the research examines works like Become Ocean by John Luther Adams and DAMN. by Kendrick Lamar. The findings show how these compositions interact with cultural and technological contexts, revealing the evolving semiotic roles of music in the 21st century. The analysis reveals that syntactic innovations—including minimalist repetition, hybrid instrumentation, and algorithmic processes—challenge traditional musical frameworks, creating new structural paradigms. Semantic exploration uncovers how composers embed cultural hybridity, symbolic narratives, and emotional depth within their works. Pragmatic analysis demonstrates the transformative role of digital platforms, participatory cultures, and globalized performances in shaping audience engagement and interpretation. By situating contemporary music within interdisciplinary intersections of technology, media, and cultural studies, this research underscores the enduring relevance of semiotics in decoding how compositions reflect and influence societal, technological, and cultural transformations. The study concludes that semiotic analysis enhances our understanding of music’s communicative power, affirming its critical role as a medium for cultural dialogue, technological innovation, and social commentary.
Keywords
Supporting Institution
No funding
Ethical Statement
No need to ethical committee approval
Thanks
The author would like to express sincere gratitude to the mentors and colleagues who provided valuable feedback and guidance during the development of this study. Special thanks are extended to the faculty and staff of the Department of Music Education, Faculty of Performing Arts, Indonesia Institute of the Arts of Yogyakarta, whose academic support and intellectual engagement helped shape the direction of this research. However, it is to be noted here that for this research, I have received no financial assistance but from my incentive.
Appreciation is also due to the scholars whose work on semiotics, cultural theory, and musicology laid the foundation for this inquiry, particularly those advancing the application of Tarasti’s framework. Their contributions continue to inspire critical exploration at the intersection of music, culture, and meaning.
Lastly, heartfelt thanks to family and friends for their patience, encouragement, and unwavering support throughout the writing process. Very lastly, I should also acknowledge that the English writing and translation of the manuscript were proofread by a Native English colleague of mine.
