ABSTRACT
Nattiez (this volume) uses his and Molino’s tripartite semiological model to develop a critique of aspects of Jackendoff s and my A Generative Theory of Tonal Music (GTTM). I shall respond rather freely to two issues raised by Nattiez: GTTM’s alleged confusion of the poietic and aesthesic levels, and the status of the neutral level. If my remarks are more polemical than usual, it is Nattiez himself who is my inspiration, for I always respect and enjoy his lively engagement with the issues.
