The pupose of this book is twofold:
First, being epistemological in nature, it is concerned with identifying methodologically and philosophically valuable achievements of contemporary musical semiotics.
The second purpose is a pragmatic one. It stems from the need to interpret the theoretical thought of Eero Tarasti. There is no doubt that today's semiotic-musical thought, in the most general terms, is dominated by two central names and the theories behind them. The names are Jean-Jacques Nattiez and Eero Tarasti. While reconstructing Tarasti's theory, I use the text interpretation method suggested by Gunter Grimm. It originaterd with the general theory of reception formulated by E.D. Hirsch.