ABSTRACT
In this paper, the FRBR model is approached through Umberto Eco’s semiotic analysis of the translation notion as developed in his Dire quasi la stessa cosa: esperienze di traduzione. Eco’s taxonomy of forms of interpretation is used as a basis for a tentative abstract definition of what constitutes a mere expression of a given musical work and what constitutes a new, distinct musical work. The issues of aggregates of musical works, fragments of musical works, and works of vocal music, are also addressed. FRBR can be used as a basis for a model for the complex processes involved in the production and reception of musical works. And FRBR highlights complex bibliographic relationships104 that put musical works at the very center of myriads of interrelated systems that make up the catalog, which is viewed as a set of circular objects such as atoms or solar systems rather than as a straight linear listing. [Article copies available for a fee from The Haworth Document Delivery Service: 1-800-HAWORTH. E-mail address: <docdelivery@haworthpress.com> Website: <https://www.HaworthPress.com" xmlns:xlink="https://www.w3.org/1999/xlink">https://www.HaworthPress.com> © 2005 by The Haworth Press, Inc. All rights reserved.]
