Through the use of the semiotic theory of iconic realism, artists
shape the consciousness of various aspects of culture, including education,
history, business, and aesthetics whereby their works of art combine an iconic
figure with a realistic setting that communicates an incompatibility with the
accepted environment in which the audience commonly associates the iconic
figure. Understanding the language presented through the art form, be it
literary, visual or aural, the audience may respond with an emotional
resistance as it perceives the iconic representation in this new realistic
setting.
An example of iconic realism in a musical composition utilizing
instrumentation is Wagner’s mythical composition, The Ring of the Nibelungs.
In this piece, Wagner represents various aspects of society through
instrumental characterizations. As Eero Tarasti affirms, "the gods appear in the Ring not only as personifications of the elements of nature, for
example, Loge as the god of fire, Donner the god of thunder etc, but also as a
society, whose leader is Wotan." [1]
His use of contrasting instrumentation throughout his opus reveals an intense
desire to illustrate corruption within his society. Many filmmakers choose to
accompany the drama of their themes utilizing the nineteenth century Wagner
music. An example of such intense films is Apocalypse Now, which illustrates the corruption associated with war, in particular, the Vietnam War.
1. Tarasti, Eero. Myth and Music: A Semiotic Apporach to the
Aesthetics of Myth in Music, especially that of Wagner, Sibelius and Stravinsky (Paris: Mouton, 1979) 177.
