@article{dalmonte_towards_1995,
	title = {Towards a {Semiology} of {Humour} in {Music}},
	volume = {26},
	issn = {03515796},
	url = {http://www.jstor.org/stable/836999},
	abstract = {This article deals with the problem of comical meaning in music and analyses it from the poietical and aesthesical points of view, according to the theory proposed by J. J. Nattiez. The chapter concerning the ways in which the composer can make public his comical intentions, through the use of verbal expressions added onto the music, is particularly long: these additional verbal expressions include indications concerning movement, the "almost-titles" and the real titles. Reference is made to previous studies of humour in music, and in particular to Z. Lissa's dissertations, and finally an illustration is given of the comical interpretation of a piece of music which was not intended to be funny, that is of Stravinsky's interpretation of Pergolesi.},
	number = {2},
	urldate = {2010-01-09TZ},
	journal = {International Review of the Aesthetics and Sociology of Music},
	author = {Dalmonte, Rossana},
	month = dec,
	year = {1995},
	note = {ArticleType: primary\_article / Full publication date: Dec., 1995 / Copyright © 1995 Croatian Musicological Society},
	pages = {167--187}
}

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