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  1. Eero Tarasti (forthcoming). Arnold Schoenberg's Harmonielehre in the Light of Musical Semiotics. Semiotics:247-254.
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  2. Eero Tarasti (forthcoming). Peirce and Greimas From the Viewpoint of Musical Semiotics. Semiotics:503-511.
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  3. Eero Tarasti (2013). Victoria Lady Welby – A Pioneer of Semiotic Thought Rediscovered by Susan Petrilli. Semiotica 2013 (196):21-34.
    Journal Name: Semiotica - Journal of the International Association for Semiotic Studies / Revue de l'Association Internationale de Sémiotique Volume: 2013 Issue: 196 Pages: 21-34.
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  4. Eero Tarasti (2012). Semiotics of Classical Music: How Mozart, Brahms and Wagner Talk to Us. De Gruyter Mouton.
    Using new semiotic methods and analyses as the fulcrum of its approaches, the volume aims to clarify why great classical composers from Mozart and Beethoven to Brahms and Wagner fascinate music listeners and lovers from all cultures of the ...
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  5. Eero Tarasti (2009). Semiotics of Resistance: Being, Memory, History—the Counter-Current of Signs. Semiotica 2009 (173):41-71.
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  6. Eero Tarasti (2007). An Essay on Appearance. Cultura 4 (1):44-61.
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  7. Eero Tarasti (2004). Ideologies Manifesting Axiologies. Semiotica 2004 (148).
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  8. Eero Tarasti, Paul Forsell & Richard Littlefield (eds.) (2003). Musical Semiotics Revisited. International Semiotics Institute.
     
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  9. Eero Tarasti (2002). Signs of Music: A Guide to Musical Semiotics. Mouton De Gruyter.
    Music is said to be the most autonomous and least representative of all the arts.
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  10. Eero Tarasti (2001). Looduse metafoorid ja organitsism muusika epistemoloogias. Sign Systems Studies 29 (2):682-682.
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  11. Eero Tarasti (2001). Metaphors of Nature and Organicism in the Epistemology of Music. Sign Systems Studies 29 (2):657-681.
    Metaphors of nature and organism play a central role in the epistemes of the Western culture and arts. The entire project of the 'modern' meant a separation of man from the cosmos and its laws. Signs and symbols are thought to be arbitrary and conventional social constructions. However, there are many returns to iconic imitations of nature and biological principles also in such an esoteric art as music. One of the highest aesthetic categories in Western art music is the so-called (...)
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  12. Eero Tarasti (2001). The Semiosis of Light in Music: From Synaesthesias to Narratives. Semiotica 2001 (136).
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  13. Anti Randviir, Eero Tarasti & Vilmos Voigt (2000). Finno-Ugric Semiotics. Sign Systems Studies 28:425-438.
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  14. Eero Tarasti (2000). Vladimir Soloviev: Pre- or Anti-Semiotician? Semiotica 128 (3-4):581-596.
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  15. Eero Tarasti (1999). Signs and Transcendence. Semiotica 126 (1-4):17-40.
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  16. Eero Tarasti (1998). From Aesthetics to Ethics: Semiotic Observations on the Moral Aspects of Art, Especially Music. Poznan Studies in the Philosophy of the Sciences and the Humanities 62:363-374.
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  17. Eero Tarasti (1998). On Post-Colonial Semiotics. Σημιοτκή-Sign Systems Studies 1:115-135.
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  18. Eero Tarasti, Paul Forsell & Richard Littlefield (eds.) (1996). Musical Semiotics in Growth. International Semiotics Institute.
    (by a semiotician) EERO TARASTI A semiotic interpretation of the two last centuries in the history of Western art music is in many respects a challenging ...
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  19. Eero Tarasti (1995). “Après Un Rêve”: A Semiotic Analysis of the Song by Gabriel Fauré. In , Musical Signification: Essays in the Semiotic Theory and Analysis of Music. Mouton de Gruyter. 121--435.
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  20. Eero Tarasti (ed.) (1995). Musical Signification: Essays in the Semiotic Theory and Analysis of Music. Mouton De Gruyter.
    Method and system Francois- Bernard Mdche I want to raise the issue of the possible significance of the use of digital machines for a composer whose work is ...
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  21. Eero Tarasti (1995). The Taste of Finnish Semiotics. Semiotica 106 (3/4):301-308.
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  22. Eero Tarasti (1992). A Narrative Grammar of Chopin's G Minor Ballade. Minds and Machines 2 (4):401-426.
    A new semiotic model for the generation of musical texts is introduced in this article. The idea of a generative grammar is here understood in the sense of the generative trajectory, a model elaborated by A. J. Greimas. Four levels are chosen from his trajectory for the study of musical texts, namely, those of isotopies, spatial, temporal and actorial categories, modalities and semes or figures.As an illustration, the G minor Ballade by Fr. Chopin has been examined through all these levels. (...)
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  23. Eero Tarasti (1991). Finland in the Eyes of a Semiotician. Semiotica 87 (3-4):203-216.
     
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  24. Veikko Rantala, Lewis Eugene Rowell & Eero Tarasti (eds.) (1988). Essays on the Philosophy of Music. Distributed by Akateeminen Kirjakauppa.
     
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  25. Eero Tarasti (1988). On the Modalities and Narrativity in Music. In Veikko Rantala, Lewis Eugene Rowell & Eero Tarasti (eds.), Essays on the Philosophy of Music. Distributed by Akateeminen Kirjakauppa. 43--155.
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  26. Eero Tarasti (1987). Foreword. Semiotica 66 (1-3):1-4.
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  27. Eero Tarasti (1987). On the Modalities of Opera. Semiotica 66 (1):3.
     
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  28. Eero Tarasti (1987). Semiotics of Music. Semiotica 66 (1-3):1-330.
     
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  29. Eero Tarasti (1979). Myth and Music: A Semiotic Approach to the Aesthetics of Myth in Music, Especially That of Wagner, Sibelius and Stravinsky. Mouton.
    PART ONE 1. Introduction The purpose of this investigation is to explore the relations between myth and music. Although this research may be said to have a ...
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