Semiotics 1980 pp 503-511 | Cite as

Peirce and Greimas from the Viewpoint of Musical Semiotics: An Outline for a Comparative Semiotics

  • Eero Tarasti


In semiotics it has become more and more evident that the dream of a unified semiotical science is an unreachable ideal. In this situation of extreme heterogeneity it is also legitimate to ask what kind of unifying metatheories one might develop in general semiotics, as well as in its special branches, like that of musical semiotics.


Indexical Sign Musical Work Musical Structure Aforementioned Modal Verbal Text 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.


Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.


  1. Asafiev, B. V., 1976, “Musical Form as a Process,” trans. J. R. Tull, Ohio State Univ., Columbus.Google Scholar
  2. Coker, W., 1972, “Music and Meaning. A Theoretical Introduction to Musical Aesthetics,” Free Press ( Collier-MacMillan ), London and New York.Google Scholar
  3. Greimas, A. J., 1976, Pour une théorie, des modalités, in: Langages. Revue trimestrielle, September.Google Scholar
  4. Langer, S., 1951, “A Philosophy in a New Key,” Harvard Univ., Cambridge.Google Scholar
  5. Lidov, D., 1980, “Musical Structure and Musical Significance,” Part I (working paper), Toronto Semiotic Circle.Google Scholar
  6. Nattiez, J-J., 1975, “Fondements d’une sémiologie de la musique,” Union Generale d’Editions, Paris.Google Scholar
  7. Osmond-Smith, D., 1975, Iconic relations within formal transformations, in: Actes du ler congres internationale de semiotique musicale, Centro di Iniziativa Culturale, Pesaro.Google Scholar
  8. Seeger, C., 1977, “Studies in Musicology, 1935–1975,” Univ. of California, Berkeley and Los Angeles.Google Scholar
  9. Stoianowa, I., 1978, “Geste, texte, musique,” Union Generale d’Editions, Paris.Google Scholar
  10. Tarasti, E., 1979, “Myth and Music. A Semiotic Approach to the Aesthetics of Myth in Music, Especially That of Wagner, Sibelius and Stravinsky,” Approaches to Semiotics 51, Mouton, The Hague.Google Scholar

Copyright information

© Plenum Press, New York 1982

Authors and Affiliations

  • Eero Tarasti
    • 1
  1. 1.University of JyväskyläFinland

Personalised recommendations