摘要
With his three-level model, Nattiez adds a reception dimension to his semiotic analysis, and he focuses on meanings of music throughout the chapters, an indication of getting rid of musicological-linguistic hegemony.
With his three-level model, Nattiez adds a reception dimension to his semiotic analysis, and he focuses on meanings of music throughout the chapters, an indication of getting rid of musicological-linguistic hegemony.
出处
《音乐艺术（上海音乐学院学报）》
CSSCI
北大核心
2001年第1期93-96,共4页
Art of Music(Journal of the Shanghai Conservatory of Music)
