No CrossRef data available.
We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
Published online by Cambridge University Press: 01 January 2020
1 Barthes, Roland, Elements of Semiology (New York, 1967), 10Google Scholar
2 For further discussion of the protocol for composing variation sets in the eighteenth century, see Leonard G Ratner, Classic Music Expression, Form, and Style (New York, 1980), 255–9Google Scholar
3 The most recent elaboration of this tripartition is in Jean-Jacques Nattiez's Music and Discourse Toward a Semiology of Music (Princeton, 1990), 10–16Google Scholar
4 Edward T Cone, ‘Words into Music The Composer's Approach to the Text’, Sound and Poetry, ed Northrop Frye, English Institute Essays 1956 (New York, 1957), 9Google Scholar
5 Kramer, Lawrence, Music and Poetry The Nineteenth Century and After (Berkeley, 1984)Google Scholar
6 For further discussion of this point as it applies to the reading of literary works, see Eagleton, Terry, The Ideology of the Aesthetic (Oxford, 1990)Google Scholar
7 See Bent, Ian D, ‘The “Compositional Process” in Music Theory 1713–1850’, Music Analysis, 3 (1984), 29–55Google Scholar