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ABSTRACT. Zbikowski develops a theoretical approach to musical grammar based on research in cognitive linguistics and on nineteenth-century accounts of the proper way to compose dance music. DeBellis claims that ordinary listeners mentally represent tonal melodies as sequences of scale degrees. Cantrick shows that the language of many influential music theorizers contains semantic errors which would be unacceptable in the scholarly literature on semantics. (pp. 120–124)

LUMINIŢA POGACEANU
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Spiru Haret University

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