法國文論家羅蘭巴特(Roland Barthes, 1915-1980)擅於透過評論其他不同的藝術形式來反思文學的特性，除了較爲人熟知的攝影、繪畫與電影之外，他亦經常在行文之間論及音樂，更有多篇評論文章直接以音樂相關主題爲分析重點。巴特談論音樂的文章主要收錄在評論文集第三冊《銳意與鈍意》(L'obvie etl' obtus: essais critiques Ⅲ)之中，寫作日期則多在一九七○年之後。在這幾篇文章中，他並未嘗試建立一套用來詮釋音樂的理論系統，而是以較個人化的觀點，從分析他喜愛的音樂類型或演出者出發，以自成一格的思考模式與書寫風格，來討論這些音樂所涉及的不同層次的問題。本文以巴特談論音樂的多篇相關文章爲分析對象，並呈現巴特從語言、身體與實踐等角度來論述音樂的多元方式。透過這些論述，巴特發展出一種由「書寫」的角度來面對音樂的態度，更將這種音樂書寫視爲能指性的搬演場域，因而指出了一種互文性書寫的可能實踐方向。

Roland Barthes (1915-1980), French essayist and critique, specializes in reflection on the characteristics of literature through analyses of works of other art forms. Compared to Barthes' writings on photography, painting, and movies, his essays on music are relatively unknown, yet equally revealing and important. Most of his writings on music are collected in the third volume of Essais critiques, L'obvie et l'obtus, and are written after 1970. Different from what he has done with his analyses on literary subjects or art forms, Barthes does not attempt to construct a theoretical system of interpretation for music; instead he adopts a random and highly personal scope. His writings on music encompass discussions and analyses on music genres, composers, performers he appreciates and investigate different aspects of this art form; together they establish a unique aesthetic model and formulate a new writing style. In this article, the author examines Barthes' essays on music and discusses how Barthes relates language, body and practice and how through the musical discourse, Barthes develops a new approach to music through the idea of signifiance and creates a new playground of intertexual writings on music.