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Jean-Jacques Nattiez, Music and Discourse Towards a Semiology of Music, translated by Carolyn Abbate. Princeton, Princeton University Press, 1991. xv + 272 pp. ISBN 0 691 02714 5.

Haimo finds the significance of combinatorial harmony to reside in the constant occurrences of the same intervallic structure throughout a piece. However, because of the uniformity, it can also be said that combinatorial harmony explains only a limited aspect of the harmonies of a piece; basically, it informs us about its aggregate structure. Then do we need a further analytical tool beyond combinatorial harmony to demonstrate the harmonic formations of 12-note pieces at a more local level? For example, combinatorial harmony requires two combinatorially related hexachords as a unit of a harmonic formation. Is there any way to explain the local harmonies within the unit? If we can find some kind of association among these, such analysis will explain the harmonic relationships in a more subtle way. A similar argument is applied to Haimo's discussion of metre, in which he states that Schoenberg's metre in the mature 12-note style is determined by the periodicity of pitch-structures, namely the hexachord and aggregate (pp. 35-7). If the metre is determined by the aggregate structure of a piece, then how does the 'metre' differ from the 'harmony' that is also based on the aggregate formation? Although Haimo assumes that the integration of the ten features is a characteristic of the mature style, we need a more lucid distinction between them, especially between metre and harmony. If they are mutually related in some aspects, then in which aspect does one compositional feature differ from the other? Without such an investigation, the compositional features can portray only a limited part of musical style. Although all these points need more refinement, Haimo's book is certainly a significant work and one that enables us to view Schoenberg's stylistic change over a long period of time. Moreover, because the book includes many useful suggestions on important issues raised by each piece, it provides guidelines for starting a detailed analytical study of Schoenberg's individual works.