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  1.  3
    Existential Semiotics.Eero Tarasti (ed.) - 2000
    Existential semiotics involves an a priori state of signs and their fixation into objective entities. These essays define this new philosophical field.
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  2.  37
    “Après Un Rêve”: A Semiotic Analysis of the Song by Gabriel Fauré.Eero Tarasti - 1995 - In Musical Signification: Essays in the Semiotic Theory and Analysis of Music. Mouton de Gruyter. pp. 121--435.
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  3. Essays on the Philosophy of Music.Veikko Rantala, Lewis Eugene Rowell & Eero Tarasti (eds.) - 1988 - Akateeminen Kirjakauppa.
     
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  4.  28
    Peirce and Greimas From the Viewpoint of Musical Semiotics.Eero Tarasti - 1980 - Semiotics:503-511.
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  5.  51
    A Narrative Grammar of Chopin's G Minor Ballade.Eero Tarasti - 1992 - 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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  6.  17
    An Essay on Appearance.Eero Tarasti - 2007 - Cultura 4 (1):44-61.
    One need not know much history of semiotics in order to recognize the background of my title. It is of course an allusion to Umberto Eco’s classic Struttura assente from 1968, which turned out to be a major touchstone in the history of European semiotics. At that time, everything about semiotics had become “structural” . But why, for Eco, was structure “absent”? This notion of absence reveals something essential in both the history of structuralism and in the reasoning to which (...)
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  7.  1
    Foreword.Eero Tarasti - 1987 - Semiotica 66 (1-3):1-4.
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  8. Semiotics of Music.Eero Tarasti - 1987 - Semiotica 66 (1-3):1-330.
     
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  9.  13
    Arnold Schoenberg's Harmonielehre in the Light of Musical Semiotics.Eero Tarasti - 1982 - Semiotics:247-254.
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  10.  10
    Metaphors of Nature and Organicism in the Epistemology of Music.Eero Tarasti - 2001 - 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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  11.  11
    Victoria Lady Welby – A Pioneer of Semiotic Thought Rediscovered by Susan Petrilli.Eero Tarasti - 2013 - 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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  12.  7
    From Aesthetics to Ethics: Semiotic Observations on the Moral Aspects of Art, Especially Music.Eero Tarasti - 1998 - Poznan Studies in the Philosophy of the Sciences and the Humanities 62:363-374.
  13.  6
    Finno-Ugric Semiotics.Anti Randviir, Eero Tarasti & Vilmos Voigt - 2000 - Sign Systems Studies 28:425-438.
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  14.  6
    Semiotics of Resistance: Being, Memory, History—the Counter-Current of Signs.Eero Tarasti - 2009 - Semiotica 2009 (173):41-71.
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  15.  4
    Vladimir Soloviev: Pre- or Anti-Semiotician?Eero Tarasti - 2000 - Semiotica 128 (3-4):581-596.
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  16.  2
    Looduse metafoorid ja organitsism muusika epistemoloogias.Eero Tarasti - 2001 - Sign Systems Studies 29 (2):682-682.
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  17.  2
    The Semiosis of Light in Music: From Synaesthesias to Narratives.Eero Tarasti - 2001 - Semiotica 2001 (136).
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  18.  2
    Signs and Transcendence.Eero Tarasti - 1999 - Semiotica 126 (1-4):17-40.
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  19. Musical Signification, Between Rhetoric and Pragmatics Proceedings of the 5th International Congress on Musical Signification = la Significazione Musicale, Tra Retorica E Pragmatica.Luca Marconi, Gino Stefani & Eero Tarasti - 1998
     
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  20. Finno-Ugric Semiotics: Cultores and Metacultores.Anti Randviir, Eero Tarasti & Vilmos Voigt - 2000 - Sign Systems Studies 28:425-438.
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  21. An Essay on Appearance: Or: The Present Structure and Existential Digressions of the Subject.Eero Tarasti - 2007 - Cultura 4 (1):44-61.
    One need not know much history of semiotics in order to recognize the background of my title. It is of course an allusion to Umberto Eco’s classic Struttura assente from 1968, which turned out to be a major touchstone in the history of European semiotics. At that time, everything about semiotics had become “structural”. But why, for Eco, was structure “absent”? This notion of absence reveals something essential in both the history of structuralism and in the reasoning to which most (...)
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  22. Daniel Charles ou le principe du non-vouloir.Eero Tarasti - 2010 - Nouvelle Revue d'Esthétique 5.
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  23. Daniel Charles Ou le Principe du Non-Vouloir.Eero Tarasti - 2010 - Nouvelle Revue D’Esthétique 5 (1):85.
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  24. Finland in the Eyes of a Semiotician.Eero Tarasti - 1991 - Semiotica 87 (3-4):203-216.
     
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  25. Ideologies Manifesting Axiologies.Eero Tarasti - 2004 - Semiotica 2004 (148).
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  26.  48
    Myth and Music: A Semiotic Approach to the Aesthetics of Myth in Music, Especially That of Wagner, Sibelius and Stravinsky.Eero Tarasti - 1979 - 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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  27. Metaphors of Nature and Organicism in the Epistemology of Music: A "Biosemiotic" Introduction to the Analysis of Jean Sibelius' Symphonic Thought.Eero Tarasti - 2001 - 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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  28.  34
    Musical Signification: Essays in the Semiotic Theory and Analysis of Music.Eero Tarasti (ed.) - 1995 - 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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  29.  20
    Musical Semiotics in Growth.Eero Tarasti, Paul Forsell & Richard Littlefield (eds.) - 1996 - 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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  30. Musical Semiotics Revisited.Eero Tarasti, Paul Forsell & Richard Littlefield (eds.) - 2003 - International Semiotics Institute.
     
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  31. On Post-Colonial Semiotics.Eero Tarasti - 1998 - Σημιοτκή-Sign Systems Studies 1:115-135.
  32. On the Modalities and Narrativity in Music.Eero Tarasti - 1988 - In Veikko Rantala, Lewis Eugene Rowell & Eero Tarasti (eds.), Essays on the Philosophy of Music. Akateeminen Kirjakauppa. pp. 43--155.
     
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  33. On the Modalities of Opera.Eero Tarasti - 1987 - Semiotica 66 (1):3.
     
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  34. Snow, Forest, Silence: The Finnish Tradition of Semiotics.Eero Tarasti (ed.) - 1999 - Indiana University Press.
    Thirty high-level essays on various aspects of semiotics by Finnish, Estonian, and Hungarian scholars.
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  35.  8
    Semiotics of Classical Music: How Mozart, Brahms and Wagner Talk to Us.Eero Tarasti - 2012 - 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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  36.  58
    Signs of Music: A Guide to Musical Semiotics.Eero Tarasti - 2002 - Mouton De Gruyter.
    Music is said to be the most autonomous and least representative of all the arts.
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  37. The Taste of Finnish Semiotics.Eero Tarasti - 1995 - Semiotica 106 (3/4):301-308.
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