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SHIMODA, Lucas Takeo. The connotative role of timbre in semiotics of song. 2014. 213 f. Dissertacao (Mestrado) – Faculdade de Filosofia, Letras e Ciencias Humanas, Universidade de Sao Paulo, Sao Paulo, 2014. This work aims to discuss the role of timbre (tone color) within the theoretical framework of the Semiotics of Songs, defined as a special field of French Semiotics – developed mainly by A. J. Greimas but also by other members of the so-called Paris School of Semiotics – and applied to the Brazilian popular song. Developed by the semiotician Luiz Tatit, this line of research is being consolidated as an analytical tool specialized at the study of popular music, this being understood as an organic unity made up of lyrics and melody. After the first phase of the theory, at which the basic analytical tools were formulated and enhanced, several researches sought the expansion of the theory’s analytical scope towards issues not discussed until then, e.g. timbre. The doctoral theses of Carmo Jr. (2007), Coelho (2007) and Dietrich (2008) stand out among these studies as they raise essential issues to explain the semiotic role of timbre in the production of meaning effects. The propositions presented by these authors were critically reviewed in order to draw out the methodological and theoretical guidelines, which shall support this work as much as future research on this subject. From this confrontation of perspectives, one can draw the hypothesis that timbre belongs rather to the field of connotative semiotics, according to the analytic model of hierarchic levels outlined by the linguist Louis Hjelmslev (2006). This approach aims to explain how timbre plays a role at the meaning-effects construction, although it can be regarded as a secondary and variable element up to a certain extent of the semiotic description. In order to achieve this goal, the concept of connotation was researched in A. J. Greimas’ work in order to determine more precisely its role within the theoretical framework of semiotics as much as its analytical possibilities. The theoretical and methodological guidelines drawn out until this point were applied in two different scenarios. The first one analyzed how the verbal descriptions given by orchestration handbooks implicitly encode

O estatuto conotativo do timbre em semiótica da canção