“…A few of the reviews maintain a positive tone throughout, either because they are more concerned with content summary than with criticism, or because they find nothing to criticize. Pizà (1991) appreciates the epistemological savvy of Nattiez's tripartitional model because it attempts to take account of "an implicated knowing mind and a variable knowable phenomenon" (112). Massi (1992) attributes "a complete reassessment of music and language about music" (1287) to Nattiez's book.…”