Abstract
Frequent references to musical terms in Barthes's writings since 1970 suggest a progression beyond a standard semiological inquiry. A text on the «grain» of the voice, another on musica practica, and a third on Romantic song develop a model of figuration Barthes explores actively in the Fragments d'un discours amoureux (A Lover's Discourse) and La Chambre claire. This article is available in Studies in 20th Century Literature: http://newprairiepress.org/sttcl/vol5/iss2/10
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