Of all the repertories of Western Art music, none is as explicitly listener-oriented as that of the late eighteenth and early nineteenth centuries. Yet few attempts to analyze the so-called Classic Style have embraced the semiotic implications of this condition. Playing with Signs proposes a listener-oriented theory of Classic instrumental music th
Reviews
"This book is extraordinarily rich in suggestion. Ideas are imported from Umberto Eco, Roland Barthes, David Lidov, Edward Said... This is eclecticism at its most erudite and liberal."--Music and Letters
