In this paper the authoress analyzes her own previous views on the ontology of musical objects. The problem is discussed in the perspective of the conceptions of the semiotic functions of musical terms. She claims that musical compositions, being products of the creative activity of composers, are quasi-particular objects, distinct from particular (or real) objects, as well as from universal objects. To describe the variety of musical objects coherently, we should distinguish three different referential functions. Thanks to the function of designating, terms refer to particular objects and thanks to the function of denominating, to universal objects. Musical compositions are quasi-designated by their titles.
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