"A Theory of Musical Semiotics" analyzes musical works through the theoretical frameworks of narratology and French structural semiotics, especially that of A. J. Greimas. It also views theories from the 'classical' semiotic tradition, from Saussure to Peirce to Lotman, as possible foundations of musical semiotics. In Part One, Tarasti introduces the main concepts of his theoretical model, the generative course: isotopies, temporal-spatial-actorial categories, modalities, and the semiotic square. In Part Two, he applies his theory by analyzing several piano pieces by Chopin, Debussy, and Liszt; Beethoven's "Waldstein" Sonata; Faure's song "Apres un reve"; Musorgsky's Pictures at an Exhibition; and Sibelius' Fourth Symphony. "A Theory of Musical Semiotics" provides a model for the semiotic analysis of both musical structure and semantics. It introduces English-language readers to musical narratology, which has been largely the province of European researchers.