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1. Ashby, Arved, ed. (2004). “Intention and Meaning in Modernist Music”, The Pleasure of Modernist Music.
2. Molino, Jean (1975). “Fait musical et sռmiologue de la musique”, Musique en Jeu, no. 17:37-62.
3. Nattiez, Jean-Jacques (1987). Music and Discourse: Toward a Semiology of Music (Musicologie generale et semiologue, 1987). Translated by Carolyn Abbate (1979).
4. Chandler, Daniel. (2001/2007). Semiotics: The Basics. London: Routledge.
5. Clarke, D. S. (2003). Sign Levels. Dordrecht: Kluwer.
6. Deely, John. (2003). The Impact on Philosophy of Semiotics. South Bend: St. Augustine Press.
7. Umberto Eco,Semiotics and the Philosophy of Language
2. Molino, Jean (1975). “Fait musical et sռmiologue de la musique”, Musique en Jeu, no. 17:37-62.
3. Nattiez, Jean-Jacques (1987). Music and Discourse: Toward a Semiology of Music (Musicologie generale et semiologue, 1987). Translated by Carolyn Abbate (1979).
4. Chandler, Daniel. (2001/2007). Semiotics: The Basics. London: Routledge.
5. Clarke, D. S. (2003). Sign Levels. Dordrecht: Kluwer.
6. Deely, John. (2003). The Impact on Philosophy of Semiotics. South Bend: St. Augustine Press.
7. Umberto Eco,Semiotics and the Philosophy of Language