Abstract
Raziskave na področju recepcije glasbe običajno težijo k študijskim primerom ali tabulaturam, pri čemer se študije interpretacije glasbe sprašujejo po nepreračunljivosti tehničnih pogojev in izbirnih predelavah glasbenih posnetkov. Ker je videti, da je pomanjkanje zavedanja v zvezi z referenčnimi sistemi izhodišče problema, ta razprava predlaga osnovni model, s katerim se lahko ukvarjamo z glasbo v vseh njenih pisnih in zvočnih pojavnostih.
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