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Robert S. Hatten [12]Robert Hatten [2]R. Hatten [1]
  1. The Splintered Paradigm, a Semiotic Critique of Recent Approaches to Music Cognition.R. Hatten - 1990 - Semiotica 81 (1-2):145-178.
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  2. The Place of Intertextuality in Music Studies.Robert S. Hatten - 1985 - American Journal of Semiotics 3 (4):69-82.
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  3. Aspects of Dramatic Closure in Beethoven: A Semiotic Perspective on Music Analysis Via Strategies of Dramatic Conflict.Robert S. Hatten - 1987 - Semiotica 66 (1-3):197-210.
     
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  4.  23
    Explaining Style Growth and Change.Robert S. Hatten - 1980 - Semiotics:185-194.
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  5.  24
    Musical Agency as Implied by Gesture and Emotion.Robert S. Hatten - 2009 - Semiotics:162-169.
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  6.  18
    Metaphor in Music.Robert S. Hatten - 1995 - In Eero Tarasti (ed.), Musical Signification: Essays in the Semiotic Theory and Analysis of Music. Mouton de Gruyter. pp. 121--373.
  7.  15
    Interpreting the Grotesque in Music.Robert S. Hatten - 2011 - Semiotics:419-426.
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  8.  12
    Interrogating a Complex Artistic Trope.Robert S. Hatten - 2010 - Semiotics:325-334.
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  9.  7
    An Introduction to Virtual Agency in Music.Robert S. Hatten - 2015 - Semiotics:1-9.
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  10.  10
    Grounding Interpretation.Robert S. Hatten - 1996 - American Journal of Semiotics 13 (1/4):25-42.
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  11. Raymond Monelle.Francois Delalande Clarke, Robert Hatten, Michel Imberty, Vladimir Karbusicky, Jaroslav Jiranek, Francois-Bernard Mache, Julian Rushton, Ivanka Stoianova, Philip Tagg & Bernard Vecchione - 1999 - Semiotica 123 (3/4):349-355.
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  12. Mario Baroni Accompaniment Formulas in Verdi's Ernani 129-140 Daniel Charles Son Et Temps 171-179.Rossana Dalmonte, Christie Davies, Martha Davis, François Delalande, Célestin Deliège, Françoise Escal, Bruce E. Fleming, Robert S. Hatten, Shuhei Hosokawa & Vladimir Karbusicky - 1987 - Semiotica 66:455.
     
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  13. Thematic Gestures, Topics, and Tropes. Grounding Expressive Interpretation in Schubert.Robert Hatten - 2003 - In Eero Tarasti, Paul Forsell & Richard Littlefield (eds.), Musical Semiotics Revisited. International Semiotics Institute. pp. 80--91.
     
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