Abstract

The figure of the amateur is emerging on the contemporary semiosphere, both in terms of scientific research and in the artistic domain. In this paper we discuss this phenomenon from the textual analysis of a song by Paolo Conte. We thus deal with the relations of mutual intersemiotic translation between music and image by showing how, in Conte, a musical composition can, at the level of utterance, become the theory of a given pictorial making and, at the level of enunciation, be transposed into a drawing that predicates it by its own expressive and semantic means. But also how, in the reverse sense, a certain form of life of the amateur visual artist can be transposed into a precise device of musical performance