Music semiology

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Music semiology (semiotics) is the study of signs as they pertain to music on a variety of levels. Following Roman Jakobson, Kofi Agawu adopts the idea of musical semiosis being introversive or extroversive--that is, musical signs within a text and without. "Topics," or various musical conventions (such as horn calls, dance forms, and styles), have been treated suggestively by Agawu, among others. The notion of gesture is beginning to play a large role in musico-semiotic enquiry.

There are strong arguments that music inhabits a semiological realm which, on both ontogenetic and phylogenetic levels, has developmental priority over verbal language. (Middleton 1990, p. 172) See Nattiez 1976, Nattiez 1987, Nattiez 1989, Stefani 1973, Stefani 1976, Baroni 1983, and Semiotica (66: 1–3 (1987)).

Writers on music semiology include Kofi Agawu (on topical theory, Schenkerian analysis), Robert Hatten (on topic, gesture), Raymond Monelle (on topic, musical meaning), Jean-Jacques Nattiez (on introversive taxonomic analysis and ethnomusicological applications), Anthony Newcomb (on narrativity), and Eero Tarasti (generally considered the founder of musical semiotics).[citation needed] Roland Barthes, himself a semiotician and skilled amateur pianist, wrote about music in Image-Music-Text,[full citation needed] The Responsibilities of Form,[full citation needed] and Eiffel Tower,[full citation needed] though he did not consider music to be a semiotic system.[citation needed]

Signs, meanings in music, happen essentially through the connotations of sounds, and through the social construction, appropriation and amplification of certain meanings associated with these connotations. The work of Philip Tagg (Ten Little Tunes, Fernando the Flute, Music’s Meanings)[full citation needed] provides one of the most complete and systematic analysis of the relation between musical structures and connotations in western and especially popular, television and film music. The work of Leonard Meyer in Style and Music[full citation needed] theorizes the relationship between ideologies and musical structures and the phenomena of style change, and focuses on Romanticism as a case study.

Related articles[edit]


  • Ashby, Arved (2004). "Intention and Meaning in Modernist Music". In The Pleasure of Modernist Music, edited by Arved Ashby,[full citation needed] ISBN 1-58046-143-3.
  • Baroni, Mario (1983). "The Concept of Musical Grammar", translated by Simon Maguire and William Drabkin. Music Analysis 2, no. 2:175–208.
  • Middleton, Richard (1990). Studying Popular Music. Milton Keynes and Philadelphia: Open University Press. ISBN 9780335152766 (cloth); ISBN 9780335152759 (pbk).
  • Nattiez, Jean-Jacques (1976). Fondements d'une sémiologie de la musique. Collection Esthétique. Paris: Union générale d'éditions. ISBN 9782264000033.
  • Nattiez, Jean-Jacques (1987). Musicologie générale et sémiologie. Collection Musique /Passé/Présent. Paris: C. Bourgois. ISBN 9782267005004
  • Nattiez, Jean-Jacques (1989). Proust as Musician, translated by Derrick Puffett. Cambridge and New York: Cambridge University Press. ISBN 978-0-521-36349-5 (cloth); ISBN 978-0-521-02802-8.
  • Stefani, Gino (1973). "Sémiotique en musicologie". Versus 5:20–42.
  • Stefani, Gino (1976). Introduzione alla semiotica della musica. Palermo: Sellerio editore.

Further reading[edit]