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Musical semantics is the theory of musical meaning. It includes the description of how musical meaning is conveyed, and how meaning emerges from the interpretation of musical information by an individual. With regard to Western music, a common theoretical distinction between musical meanings is intramusical meaning (the meaning music has because of inner musical relations) and extramusical meaning (meaning that arises from a musical sign that is referenced to an extramusical referent). In addition to intramusical and extramusical meaning, meaning can also emerge from the participatory nature of music. Meaning can be conveyed by single tones, as well as complex musical sequences. The processing of musical semantics relies on brain mechanisms that seem to be partly shared with those underlying the processing of linguistic semantics. However, the term musical semantics should not simply be equated with linguistic semantics because musical semantics does not refer to (binary) true-false conditions and propositional codes.

Musical semantics distinguishes between the meaning of music, and the meaning that music conceives because of the interpretation of musical information by an individual (musical meaning can emerge from meaningful associations, although this specific meaning was not intended by the producer). Musical semantics goes beyond semiotic relations because musical meaning can emerge from structural relations between successive elements, or (e.g., during listening to program music) from the integration of meaningful information into a semantic context. It is commonly differentiated between two classes of musical meaning: extramusical and intramusical meaning (the former is conceptual, the latter nonconceptual). Meaning often emerges from both intramusical and extramusical meaning, as well as from musical activities. Therefore, musical meaning is usually multidimensional.

Extramusical Meaning

Extramusical meaning emerges from musical sign qualities with reference to the extramusical world of objects, qualities, or psychological states. Three different categories of sign quality have been differentiated: iconic, indexical, and symbolic. The term iconic (Greek: “picture”) refers to a sign that has a perceivable resemblance with the designated object. In music, iconic meaning emerges from musical sounds, musical patterns, or musical forms that resemble objects or qualities. One example for an iconic resemblance is the imitation of animal calls in Western music; for example, the calls of nightingale, cuckoo, and the quail in the coda of the second movement of Ludwig von Beethoven's 6th Symphony.

Indexical signs indicate something that is not inherent in the sign. One example is that of smoke signaling the presence of fire. In music, indexical sign quality refers to psychological states such as emotions, moods, or intentions. Other terms for indexical sign quality are intentional use of natural significance, or motivational structure. Both the use of iconic sign quality and the use of indexical sign quality are referred to as “tone painting.” Patients with fronto-temporal dementia show impaired recognition of indexical, but not iconic, musical sign quality (these patients can tell if music sounds “like raindrops,” but have difficulties identifying the emotions that a musical piece is supposed to express).

Symbols are conventional, and are culturally formed, and specific knowledge is required to discern and understand them. Other terms for symbolic sign quality are extrinsic referring or designative meaning. For instance, a national anthem or the sound of the trumpet commonly symbolizes royalty. The meaning of a symbol can also be idiosyncratic, that is, it can have an individual meaning for the subject. For example, a song or melody can be imbued with symbolic meaning because of personal memories.

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