THE DIALOGUE BETWEEN SOLOIST AND ORCHESTRA WITHIN THE CONCERTO PRESENTED THROUGH PEIRCE'S “THEORY OF SIGNS”

Abstract

The dichotomy between individualism and collectivism, deeply rooted in the development of social life, reflects an anthropological aspect that is also reflected in the art of music. This opposition, which is manifested through the relationship between the soloist and the orchestra within the concerto, is one of its main genre features. It survives despite all the changes that have taken place throughout history, but it is still subject to modifications. However, the role of these entities, apart from the style of the epoch, was also influenced by the composer`s personal style which must also be taken into account when considering the work from any point of view. The proposal to apply the method of Charles Peirce's “Theory of Signs” is to help to elucidate the meanings that this type of dialogue produces and which are hierarchically arranged and positioned within the pyramidal structure. Accordingly, the theme of the paper aims at showing the relationship between the soloist and the orchestra, showing what their function is within the concerto, as well as  how their roles have changed throughout the change of epochs in history and the meaning this type of dialogue conveys.