s ▁notion ▁of ▁the ▁mus eme ▁to ▁demonstrate ▁how ▁combinations ▁of ▁such ▁units ▁are ▁used ▁to ▁create ▁both ▁sync rit ic ▁( int ensional ) ▁structures ▁inside ▁the ▁extended ▁present , ▁and ▁di ata ct ical ▁( ext ensional ) ▁ones ▁over ▁time . ▁These ▁combin atory ▁structures ▁can ▁be ▁understood , ▁he ▁arg ues , ▁with ▁the ▁help ▁of ▁an ▁overall ▁sign ▁typ ology ▁consisting ▁of ▁an aph ones ▁( son ic , ▁tact ile , ▁kin etic , ▁social ), ▁style ▁flags ▁( style ▁determin ants , ▁genre ▁sy ne c do ches , ▁etc .) ▁and ▁epis od ic ▁markers . ▁The ▁semi otic ▁theory ▁is ▁basically ▁Pe ir cean ▁but ▁it ▁draw s ▁also ▁on ▁Um berto ▁E co ' s ▁theories ▁of ▁con notation . ▁The ▁actual ▁analysis ▁method ▁is ▁based ▁on ▁both ▁met am us ical ▁information ▁about ▁the ▁analysis ▁object ▁( re ception ▁tests , ▁opinions , ▁eth n ographic ▁observation , ▁etc .) ▁to ▁arrive ▁at ▁param us ical ▁fields ▁of ▁con notation ▁( PM FC s ), ▁and ▁on ▁inter text ual ity . ▁The ▁latter ▁involves ▁ident ifying ▁sounds ▁observed ▁in ▁the ▁analysis ▁object ▁with ▁sounds ▁in ▁other ▁music ▁– ▁inter object ive ▁comparison ▁material ▁( IO CM ) ▁– ▁and ▁in ▁connecting ▁that ▁IO CM ▁with ▁its ▁own ▁PM FC s . ▁Tag g ▁arg ues ▁that ▁this ▁sort ▁of ▁music ▁semi ot ics ▁is ▁mus ogen ic , ▁not ▁log ogen ic , ▁i . e . ▁su ited ▁to ▁expression