Music semiology

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Music semiology (semiotics), the semiology of music, is the study of signs as it pertains to music on a variety of levels. Following Roman Jakobson, V. 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, 1987, 1989), Stefani (1973, 1986), Baroni (1983), and Semiotica (66: 1–3 (1987)).

Zoomusicology is often a subfield of zoosemiotics.

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).

Roland Barthes, himself a semiotician and skilled amateur pianist, wrote about music in Image-Music-Text, The Responsibilities of Form, and Eiffel Tower, though he did not consider music to be a semiotic system.

Source

Ashby, Arved, ed. (2004). "Intention and Meaning in Modernist Music", The Pleasure of Modernist Music. ISBN 1580461433.

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