other has proceeded side by side with research on the conception and function of music and language in particular historical contexts. How (and, of course, by whom and for whom) was music actually talked about and described in the past? Reception history and the history of music theory too rarely have sought to unravel carefully the interior logic of the discourse about music even from a putatively ahistorical philosophical perspective, let alone from the point of view of the past. What might a historically contingent set of assumptions, buried in the use of particular language to talk about music, look like? What influence on musical life might specific language use about music itself have exerted on the course of music history? Structuralist and semiological theories have been utilized in an effort to differentiate theoretical notions about meaning and communication in music from empirical usages. JeanJacques Nattiez's tripartite distinction of the poetic, neutral, and aesthetic levels in musical situations provides a useful theory about how one might distinguish between a composer's intent, a musical text, its realization in time directly (performance) or indirectly (acoustic realization through the playing of recordings)and the reactions of varying types of listeners.'
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