Molino's tripartition was not developed or intended for use specifically with music, but to show the relationship between the symbols and its users. Further, Molino gives his views on the direct correspondence that exists between them:

...nothing guarantees a direct correspondence between the effect produced by a work of art and the intentions of its creator. Every symbolic object presumes an exchange in which producer and consumer, sender and receiver are not interchangeable and have different perspectives on this subject which they hardly conceive in the same way. ⁶

                Further, musical diversity appears to be central to Molino's conception of the tripartition of the sign. In its urge to be defined, this diversity, be it historical, functional, material, or cultural, has the need for a greater and more fitting standard by which to measure and define the total musical phenomenon, than the occidental ideal could ever provide. If this "standard" cannot be achieved, then the phenomenon cannot be defined only in neutral terms but will have to be defined in relation of its cultural functions as an object of "production and perception." Thus, music neutrally would be defined as an "acoustic fact" (the neutral level), or in terms of its product, as the deliberate arranging of sounds according to rules (the poiethics), or as a sequence of sounds pleasing (perceptually) to the ear (aesthesic).

                The neutral level is seen as a descriptive happening or event in the process of analysis. Descriptively, the neutral analysis draws attention to the independent organization of the neutral level of the sign which may give rise to different interpretations in different contexts. Moreover, it is a level which contains "the most exhaustive recognizable features in a score."⁷ Its object is to provide sufficient and necessary datum from where the poetic and aesthesic may draw pertinent information in arriving at specific conclusions.

                Finally, it serves as an analytical tool in the partitioning of the work into "units" according to "abstract", "paradigmatic axes." These axes serve the purpose of grouping together identical or equivalent units according to certain preconceived ideals and standards.

                Neutral analysis, as defined above, is important, but it represents only an intermediary step in the semiological approach of a work. Poietic analysis, on the other hand, deals with the trace(s) left by the composer in the score. It may or may not use information obtained by the neutral level analysis as a basis for its interpretations. This information may be in the form of recurrent traits which show the composer's preferences for certain compositional procedures. The assumption about a work is verified and confirmed if these traits are present, in one or many ways, in other compositions.

                The poietic procedure is said to be inductive when the poietics depends upon the information obtained from the neutral level for its interpretation. But it is acceptable to start the analysis by paying attention only to the poietic level. This may be accomplished by using a sketch or a commentary, and then moving into the analysis of the work. In this case, any poietic information that cannot be integrated into a coherent poietic explanation may remain independent.⁸

                The aesthesic analysis may also be classified in two categories: inductive, starting from the musical text and abstracting figurations to which is given a perceptual relevance on an aesthesic basis; or starting from external aesthesic information. Aesthesic analysis, as practised this way, would probably lead to a certain reorganization of some aspect of a neutral analysis, or would simply be projected onto the work.⁹

                In his "Varèse's Density 21:5: A Study of Semeiological Analysis," Nattiez expresses his views on a performer's interpretation; this, he says, unequivocally bares testimony to his/her perception of it:

...the status we give to the score in its musical realization does not appear to have been clearly understood. In Western music, it seems absolutely obvious that the score is the composer's means of pinning his work down; it also guarantees the identity of the work from one performance to another. The score is, therefore, a symbolic fact which is absolutely essential to its transmission. The performer may thus be seen as playing an intermediary but decisive role between the written score - the trace of the composer's intentions - and the listener, and in this sense is the first to perceive the work.¹⁰

Moreover, in terms of the poietique and esthesique having a close relation to the sign, Lidov writes:

The composer's concept of his own work (poietique) is subject to the reinterpretation imposed `by his knowledge of musical perception (esthesique). The listener's interpretation (esthesique) is additionally interpreted by his knowledge concerning compositional techniques (poietique). Conceived this way, neither the poietique nor the esthesique are isolated relations to the sign. They each comprise a string of interpretations which interpenetrate each other.¹¹

Finally, the neutral level should not be considered simply a "fundamental datum" for aesthesic and poietic approaches, but a " symbolic activity" which is important, if not paramount, for comparing analyses of the same work.

Analysis of Piece for Solo 'Cello

                I would like to analyze Piece for Solo 'Cello, one of my early compositions, in order to demonstrate how effectively a semiotic analysis may bring out certain symbolic relations, concepts, ideas, and meanings embedded in the piece. The reason for choosing this piece is because of the ways in which it uses specific pitch classes to define significant relations. This enables relatively clear but informative segmentations and hierarchies, and the study of the relationship among these pitch classes, their segmentation and structural hierarchies, brings out certain more embedded and objective meanings.

                But first, I would like to present the way I conceived of the piece, which I will intermittently contrast with more "inductive" and "deductive" observations. In planning the construction of the piece, I began work with two minor second dyads, separated by a gap of a perfect fifth B-C/G-G#. I later arranged these into harmonic/melodic motives, C-G and G#-B (m.1), to give the piece a desired harmonic character and coherence. I varied these intervalically, melodically, and rhythmically from time to time, in order for them to gain new meaning at different locations throughout the piece, but as we will see, these will bear an important, if not strict relationship, to what I shall call the "head motives" of the introduction. Following this, I worked with a third "head motive" - a melodic/rhythmic one (the repeated F#s of m. 33), which is actually the main idea of the piece. The arrival of this motive constitutes a certain milestone in the construction of the piece and it acquires varied meaning and significance as the piece unfolds.

                These three motives mentioned above have several important functions throughout the piece. Motive I (the C-G dyad) is intended as a gravitational force, always pulling the the piece to its center - C. So throughout the piece I have used the pitch classes C or G, or both, to produce this effect. This is intended to provide a certain degree of tonal implication, if only on the background level. The second motive (the G#-B dyad) is varied constantly, contracted, augmented, inverted, etc. for variety and development. Each of these varied expressions of the motives bring added meaning to the piece as they are projected individually, with, or surrounded by, other pitch classes. The third motive is intended to produce a more rhythmically active and energetic force in the work.

                The form of the work is tripartite, ABA, flanked by an introduction and coda.¹² The introduction extends from measures 1 to 34. This section is slow but highly dramatic, containing, as in most cases, most of the ideas and gestures to be developed in the body of the piece. Section A extends from ms. 35 to 84. This section presents the main theme and immediately develops it. Section B, also developmental, extends from ms. 83 to 150 with a retransition beginning in m. 138. It is also highly rhythmic with constantly changing meters (the chords are strummed, similar to the that of a guitar). Section A" extends from m. 151 to 208. It recapitulates most of the melodic, harmonic, and rhythmic ideas seen in the previous section A and mixes in ideas from the introduction and "B" section directed to a climax in m. 207. A coda which is linked to the climax extends from m. 210 to the end fusing the important ideas seen throughout the piece into its closing dramatic gestures.

Introduction: mm. 1 - 34

                For easy reference to the various motives, I have assigned Roman numeral I for the first dyad (C-G), II for the second (G#-B see example I ), and III for the third (the repeated F#s, discussed below, see Example 7) in illustrations of the occurrence and development of the head motives (See Example 1.)

Example. 1: Piece for Solo 'Cello "Head Motives" I and II of Introduction.

                We begin the analysis by examining the two dyadic motives C-G and G#-B. In measure one we see head motive I while in two we see three repeated dyads after a tied whole and quarter notes. As already mentioned, these initial statements of motive I and II establish the structural and sonic identity of the piece. In m. 3, the pitch class G appears as a structural connection back to motive I in m. 1, while at the same time giving us a foretaste of the tonal implications that are to be developed later. Measure 5 begins with the pitch class G from motive I, which functions as a further prolongation of the G of m. 3.

Example. 2: the pitch class G and tonal implications

                In m. 7, the pitch class B from motive II, initiates the gesture of the phrase and at the same time refers back, at least for a beat and a half, to the B natural at the beginning of the piece. Like the pitch class G, in m. 5, it is seen here as beginning a varied repetition phrase with similar construction as the one in mm. 5 - 6, while at the same time referring back to head motive II. In mm. 9-21, the repeated pitch classes C and G work to define the tonal implications that will be much more evident as the piece unfolds.

                The dyad in mm. 17 - 20 (the G#-A, a minor second), is a compression of the initial dyad G#-B. Combined with the pitch class G, as in mm. 16 and 18, they provide an chromatic extension of the tonal and harmonic implication of motives I and II. Example 3 illustrates the compression and combination of the G#-A dyad and the pitch class G of mm.16-18.

Example 3: mm.16-17, compression and combination dyad G#-A with the G pitch class.

                Measure 21 presents a coincidence of the pitch classes G#, D and A in a continued exploration of the implications of motives I and II. Here, G# is in an octave transfer relation to the initial G# (m. 1), while at the same time it constitutes, along with the D natural, the stretching out of motive II from a minor 3rd to a diminished 5th. Structurally, this trichord comes at the end of the first half of the introduction as a reference to the initial motives (I and II). It also constitutes, as we will see later on, an alteration of the opening structural pitches in opposition to the piece's G-C tonal implications.

Example 4: m. 21, octave transfer and diminished 5th.

                A return to the idea of the first measure of the piece is shown in m. 21. Here, pitch class C (from motive I) initiates this return which develops through emphases on G (ms. 24 - 25, 26, 27 - 8 and 30), and on C﷓G (in mm. 26, 27, 28, and 30). In m. 24, the pitch class G serves simply as a grace note up to D which immediately reverts in mm. 25 and 26 to the strong tonal implications of G and C, and the dyad C-G. Moreover the C#-G in m. 29, beats 2 and 3, and m. 32, appears as a compression of the P5 of motive I to a tritone (diminished fifth). This shift is instrumental in altering the gravitational pull towards C-G ( as in the G#-D of m. 20) while preparing us, at this crucial structural point, for entrance to the body of the piece.

Example 5: indicates a compression of the P5 to a tritone; mm. 29 and 32.

                Before moving on to analyze the rest of the the piece, I would like first to present some of the structures and segmentations which are woven into the tonal interplay of the head motives which I have just described. This will also be helpful in order to show several important relationships and interactions in subsequent sections of the piece. Appendix A shows a paradigmatic segmentation of the introduction along lines of intervallic, rhythmic as well as timbral character - the minor third pertaining to "W" and the tritone and minor sixth to the "X". "Y" projects unique features timbrally in its harmonics and melodically in its tritone-perfect fourth cells, and "Z" asserts its harmonic ninths (note the similarity with the repeated down bow thirds of "W") against dissonant cellular inner-voice fragments. An overall WXYZYZ - WX(ZX) emerges in the succession of these constituents which articulates a number of linearities and polarities in parallel and corresponding phrases. Elements of the developing harmonic and tonal interplay surface in key structural repetitions and cadences hence the F# emphases of the "Y" phrases for example, and the low-register chromatic shift of G to G# leading into the G#-D-A sonority of m. 21, the high cadential G# of m.25 reiterated in m. 30 and connecting to the high-register A natural of m. 32 and finally the low open-string C natural of the same measure connecting with the low C# in m. 34. Also integral to "W" is the ascending chromatic line (B through C natural to C# in mm. 1-3, and F to G# in mm. 22-26) which also in m.3 introduces the vital C-C# relationship; there are many subsequent chromatic linear developments in the piece which conceivably reference this aspect of "W". The underlying structural role of the G#-B third is also intimated in "X" in the parallel appogiaturas A-G# of m.5 and B-Bb in m.7.

Section "A": mm. 35 - 85

                The Allegro begins, at m. 35, with the repeated pitch class F#, (motive III) bringing a new tonal character and emphasis to the piece as well as a new rhythmic spirit. Motive III appears at different pitch levels throughout this section of the piece (see Example 6):

Example 6: head motive III at various pitch levels

as a varied rhythmic motive (syncopated) with pitches E-G, in m. 38; subsequently in m. 41, as F natural; in m. 49, as E (pizzicato), where the first quarter note is now a rest; and in m. 56, as repeated G#'s. Each subsequent appearance, from the first in m. 35, except the ones in m. 38 and 51 (which does not contain the triplet) has been reduced rhythmically by an eighth note. Moreover, each statement of motive III is a minor step lower than the previous one. This constitutes a reflection of the two dyads in their original conception - BC/G natural G# - (the two minor second dyads separated by a gap of a perfect 5th), if only in an abstract way.

                In the intuitive compositional ("poietic") scheme, the first feature we observe in m. 35 is the absence of tonal implication. This is a result of the pitch class C (m. 36) from motive I, being transposed and worked into the linear passage of the flight up to Bb (m. 38). Its relationship to motive I is still evident, however, since pitch classes G#-B immediately precedes it. But in mm. 39 - 40 and 45 the repeated C#-G dyad and subsequent G naturals again pull things back to its center and the quick reiterations of the G-G# or A flat at the beginnings of the ascending contours in mm. 46 and 52 anticipate the tonal clarification of the cadence in m. 56.

                A hierarchical relationship similar to that for head motive III is established for the other head motive dyad (G#-B) via its alteration (i.e. contraction, expansion, or transposition) and placement in the musical syntax (See Example 7). In part A (specifically mm. 36, 37, 46, 52, an octave transfer with A interposed, and 54, with B flat interposed) the G#-B dyad is worked into the flight of the ascending linear passage of the piece giving referential meaning to the melodic line.

Example 7: altered versions of head motive II (G#-B) in "A" section.

                In m. 57 and onwards motive II is an integral part of the slower passage marked "molto espressivo." In m. 57, its placement at the beginning of the phrase draws a quick reference to the head motive as well as the opening low C natural and perhaps also to the more emphatic pre-cadential appearance of these three notes in m. 46. In m. 61 we see a more contracted scalic filling in of the G#-B dyad and in m. 71 it occurs an octave above, in the middle of the phrase but is here melodically linked to the C natural as in m. 46. The new hybrid version of motive II and its more generalized intervallic structure (a semitone embedded within a major third¹³) proliferate in the melodic texture of this section: in measures 42 (G#-E-G natural), 44 (C#-D-F, B-C-D#), 52 (G-G#-B), 62 (G-A#-F#) 69 (E flat-B -D) 70 (F-C#-E as well as F- F#-A) 71(G-D#-F#) etc. In some instances as in m. 54 a generic octatonic pattern emerges in the scalic concatenation of these cells. Octatonic melodic lines are observed elsewhere in the introduction as well in the inner voice of "Z" of measures 17 - 20 and in the very opening measure in the G#-B-A-C sequence of minor thirds.

Section B: mm. 86 - 150

                Section B is slower (marked poco meno mosso, scherzando, starting in m. 86) and uses right and left hand pizzicato, along with strumming - indicated by arrows written above the staff. Here we see the dyad G#-B, again contracted into the minor second G#-A. This dyad gives the piece a unique color and effect which is underscored by the lively and vigorous rhythmic activity surrounding it. I will call this dyad head motive I-a since it is repeated throughout this section and permeates the harmonic texture in much the same way as motives I and II. However it is still not to be confused with other expressions of motive I in the same section (see Example 8).

Example 8: derived head motive I-a.

I-a actually appeared for the first time in m. 17, where it was combined with the open G of the original dyadic motive II - the "W" constituent of the structure of the introduction. Note that only the dyads with the arrows pointing up are the most effective in portraying the characteristic G#-A sonorities of m. 17.

                Starting at m. 104, (and with the exception of the G#-A-C of m. 109, and the various instances of fragmentary repeated notes i.e. head-motive IIIs) clear references to the head motives seem to drop out. The piece, however, regains thematic direction starting at m. 130, where we see the G# and A motive (Ia) appearing once again. Notice that with the return of this motive it is the pitch class G which is emphasized, preparing us for the C-G, m. 138 of the beginning of a type of retransition to the A' section. In m. 142, a referential echo (pizzicato) is made to the C-G#-A motive from the beginning of the "scherzando" amid the stepwise motions in sixths which itself may be a transformative reference to the opening stepwise motions in thirds mixed however with the rhythmic and repeated-note feature of motive III. Once more in mm.149 - 150, C#-G-D sonorities provide an important structural punctuation, here at the close of the section just before the return of part A'. Also at this point, the pitch class D takes on an expanded importance by virtue of the D-A-D melodic motion going into measure 151 and its ascending register transfer and resolution to E flat in m. 152.

Section A': mm. 151 - 208

                Section A' combines most of the melodic and rhythmic ideas heard before in section A and in the introduction. It is announced by the motive III (m. 152). In m. 153, and 157-162, we see both compressions and expansions of the minor third (G#-B) of motive I to a major second (A flat-B flat)¹⁴ , and the combinations of pitches B, from motive II, and C (transposed two octaves from the low C string) from motive I. These pitch classes are combined to create greater variety as well as unity, as they maintain their relationship to the head motive (see example 9).

Example 9: combining, compressing and widening of motives.

                The developmental character of the return of A' is dominated by structural chromatic lines in the extended cross-registral motion of D natural to E flat in m. 151-152 (already mentioned) and the descending lines from D natural to Ab in m. 153 (octatonic) and mm.154-156 (chromatic - note the contrary motion in the upper tones of the tremolando in mm. 155 - 157). Chromatic linear development is pursued further in the following measures (beginning in m.159) leading through the syncopated triplet passagework of motive III to a climax in m. 168 on Db in the return of the double-stop sixths.¹⁵ This is extended immediately into the low register in m. 171 (the low C#-G# fifth) in a clear conflict with the central C-G dyad which had been re-iterated in m. 168. Here, it is intended to radically alter the sense of tonality, at least momentarily in recapitulation perhaps of earlier shifts to the C#-G tritone at the cadence, at the end of part one (ms. 83 and 84, see example 10).

Example 10: C#-G# dyad, m. 171.

                The ensuing alternations involve relatively fragmentary and disjointed appearances of previous ideas, some from quite early in the piece: the minor sixth/minor third cells, the "Y" harmonics, now in tremolando, the open string harmonics (from measure 6 of "W") and minor third glissandi (recalling motive II) with "compressions" of the minor third of motive I to major seconds (i.e. mm. 184 - 185). Motive III however, in m. 195 restores the rhythmic focus of the passage in sevenths D-C natural¹⁶ and leading in m. 199 to dynamic running passage work woven around the minor third of motive I. We catch a glimpse of motive I at pitch in m. 203 (beat 4) as it surges up to the main climax of the piece. Here, the restatement of the motive (and one could also add the pitch classes G and C, the second half of beat two of the measure) serves as a link to the material that flank it, and also reacquaints us with the sound of these particular pitch classes just before this main climax. Its placement here is also important since since it has been absent for the entire previous section, and the earlier part of this one (the return of A').

                Consequently, the motive is unfolded two octaves to climax the piece, reaching its maximum expression in the rotated intervallic disposition in m. 208. It is underscored by the sharp and piercing prominent register, and the tremolando effect, which invigorates it; motive I, the low C-G fifth, gives it both further support and poignancy, again at a prominent structural position in the piece and here speaking emphatically of what the piece is all about (Example 11).

Example 11: the climax of the piece, motive I rotated, m. 208.
 

Coda: mm. 209 - 231

                The coda (which starts at m. 211) brings back motives I and II. It is also reflective of the various melodic and rhythmic ideas, and gestures seen mostly in the introduction, but also in other areas of the piece. The C#-G dyad (an altered version of motive I), which is seen at important cadences throughout the piece, begins the coda. Here it serves the purpose of separating the coda form the main body of the piece; it also separated the introduction from the the body of the piece. The placement of these altered motives at these strategic spots serves the purpose of altering the gravitational influence of motive I, which as a result of many repetitions, has consistently pulled the surrounding material, like a magnet, to its center.

                Moreover, in m. 219 (last eighth) the dyad G#-B, harmonically stated, is again evident. Echos of the derived motive I-a, are seen also combined with the pitch classes C and G of motive I ( in m. 222 beat 2 and on the last eighth of m. 226) - here, just before the piece ends. Most intriguing in the intensity of these developments is the reiteration of the fifths D-A-E in harmonics in m. 223 and G-D-A in m. 224 - the same fragmentary reiterations found in the recapitulatory developments in measures 176 and 180 and which were in turn reflections of the opening "W" ideas of m.6.¹⁷ In measure 229 we see the dyad G-D, which appears for the last time in the concluding harmonic cadence; C-G, motive I, of course, will be the final chord, but motive II (in m. 229) and its restatement several times in the next two measures, summon back both the beginning of the piece and the parallel double-stop developments of mm. 138 - 146 and 165 - 168 at the same time that it prepares us for the final cadence. The fact that the final cadence is identical to the first is a closing reminder of the essential tonal concept of the piece (Example 12).

Example 12: the dyads in their original position

Conclusions

                In my analysis I have shown different compositional principles at work, that of combination, derivation, reduction, repetition of pitch equivalent classes, and various transformations. Moreover, a unique principle of construction is evident here - that of a three-part idea: the original dyadic motives I, II, and motive III which are unfolded at the beginning of the piece, followed by the derived motive I-a, and ending with material heard previously but re-combined in different ways. Furthermore, if the three motives with their derivations are placed side by side, one would see that despite the melodic, harmonic and rhythmic diversity of ideas, the piece is much more about the clearly identified motives, their placement within the phrase, and the meaning derived from their relationship to other motives. The piece is thus highly centered around the pitch class C, with clear tonal implications, and the use of pitch-class motives within the more or less classical phraseology of the piece provides integral devices of connection and development. Therefore, as the piece unfolds, it is drawn to its center.

                While this compositional analysis has elucidated relationships which were "conscious" to the composer (the development of "head motives" and the strategies of harmonic tonal centers), more synthetic observations explored a number of dimensions of the piece which were obviously fundamental to the compositional language yet which were less "conscious" concerns in the actual compositional process. These would include the traditional techniques of formal, thematic, and motivic design,¹⁸ chromatic/linear developments, as well as various aspects of motivic/intervallic coherence.

                More analytical observations in turn revealed a great richness of intuitive inter-relationship and coherence between these factors and the more individualistic compositional techniques involving the kernel "head motives"; the classical compositional ideal of "much from very little" was in this way clearly in evidence in both concrete and abstract levels. Concrete references to the head motive involving the actual pitch classes of the head motives themselves, the G#-B and C-G natural, could be observed both in clearly articulated, form-defining moments (the beginning of the "B" section, also the climax of the piece in m. 207 and in any of the cadential manifestations of the low-register C - G fifths, for example) as well as in passing references, providing isolated points of orientation in the midst of ongoing tonal and linear developments (most persistently in the opening "A" section, but also discretely in mm. 109 and 141 of the "B" section, following the passages based on the new head motive 1-a, and in the A" and coda sections as well).

                On more abstract levels, the structural intervals, (i.e. the minor third and fifth) of the motives I and II were manipulated in a variety of ways in the evolving melodic and harmonic texture. Important passage-work derivations from the opening intervallic cells were seen in the various successions of (0,1,4) motives as well as the chains of scalic minor in the octatonic fragments of the A section which can be related to the second head motive of the piece. Fifths (in either motivic or harmonic structure, or even harmonic movement) were allowed at other points to exert similarly characteristic tonal organizational tendencies, and other intervals such as the tritone and ninth, which were distinctively presented in the introduction (mm. 21, 34 and 10-15, 17-19 respectively,) were referenced in various instances in subsequent sections.

                Notable intervallic developments in the piece include the parallel minor sixths of mm. 143 and onwards (suggesting perhaps the minor sixths of "X" of the introduction or as inversions of the third of head motive II)¹⁹ and a distinctive minor seventh on D-C natural (m. 195) recalling the opening major seventh of D-C# of m. 2 but with a significant development in the C-C# relationship which has been active at various levels throughout the piece.²⁰ The very climax of the piece substitutes the major sixth B-G# for the prevailing minor sixths, thus arriving at a strikingly transformed return of the opening minor third G#-B of head motive II against the low fifths C-G of head motive I.

                Finally, in its unique formal and tonal structure, Piece for 'Cello Solo exhibits certain distinctive longer-range effects of exact repetition or recall. The clearest and most persistent of these are the punctuating reiterations of the low-register C#-G tritones (the various chromatic "corruptions" of head motive I in mm. 31, 35, 83, 149-150, 171, 211-213, 228), all at points of tonal and formal gravitation. Given the very ephemeral and indistinct nature of recapitulation in the piece, these punctuations virtually determine its cyclic form. Less transparent recalls of more transient ideas are nonetheless important and influential in the unfolding formal design, in particular the "Y" ideas in harmonics and tremolando harmonics in the recapitulation in response to the imposing and significant C#-G# fifths of m. 171. These passages which present very distinctive ideas which had remained untouched from the very opening, provide delicate and somewhat dislocated suggestions of long-range reversion in contrast to the dramatic developments which bring the piece to its intense conclusion. Indeed, the conclusion itself consists of one uniquely focused form of recall, exactly restating for the first and only time, the complex opening sonority, reaffirming its terse and seminal tensions and the gravitational attraction it has exerted throughout the work.

Appendix A: Succession of Structural Constituents in the Introduction of Piece for Solo 'Cello

Appendix B: Piece for Solo 'Cello by Eric Parris

Notes:

¹ This paper was first written for John MacKay's graduate seminar in twentieth-century analysis at the University of Massachusetts at Amherst. The author is grateful to Professor MacKay's editorial assistance and analytical suggestions in the revision of the paper.

² Lidov, D. "Nattiez's Semiotics of Music," The Canadian Journal of Research in Semoitics, vol. V, no. 2, Winter, 1977, p.14.

³ See Dunsby, J., and Whittal, A. Musical Analysis in Theory and Practice, New Haven: Yale University Press, pp. 212 -213.

⁴ Lidov op. cit., p. 16.

⁵ Lidov op. cit. p. 16.

⁶ Molino, J. "Fait Musical et Sémeiologie de la Musique," Musique en Jeu 17, 1975, p. 47.