1. The document discusses different ways that music can communicate or refer both within itself and outside of itself. 2. It summarizes Allan Moore's view that music refers within itself through relationships between sections, and Tagg's view that music communicates between individuals and groups. 3. Ferdinand de Saussure's theory of the sign, signifier, and signified in semiology is also summarized, and how this applies to understanding how musical elements can signify meanings.

1. Musicology
Dr Paul Carr

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Allan Moore (2013) asserts that music ‘refers’ in 3 ways:
Within Itself: For example how Verse 1 relates to Verse 2,
how the Question Phrase relates to the Answer Phrase, how
Sentence 1 relates to Sentence 2, particular drum fills that
mark the end of a section and the start of another, etc.
Traditional Theory best approach.
To Itself: Makes reference to a separate instance of music.
For example Cover Versions referring to an original, a
particular guitar sound that refers to an ‘original, etc.
Sometimes known as ‘Intertextuality’.
Outside Itself - How does music relate to ‘things’, feelings
etc outside of itself? This is what I mean by the word
‘semiology’

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Phil Tagg (2013: 45) asserts that music
COMMUNICATES (note - not refers) in the
following ways.
Between an individual and themselves
Between two individuals
Within the same group (not necessarily a
‘band’ – could be a genre for example)
Between an individual and a group
Between a group and an individual
Between Groups?

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Phillip Tagg (2013) makes reference to a few other important considerations:
Believes the concept of ‘Absolute Music’ to be an ‘article of faith (92) leading
to canonisation and elitism.
By placing musical experience outside of the material world - enables upper
classes to perpetuate elitism – informing us what is ‘good’ and ‘bad’
Believes Classical absolutism denied the context of music - modern day (postmodern) absolutism denies the text itself - e.g. journalism, social studies
approach.
Asserts that Ethnomusicology - sociological and semiotic approaches have
made musicology hopefully realize the absurdity of the concept of ‘absolute
music’ –
This assisted the development of what we now call ‘New Musicology’.

6. FERDINAND DE
SAUSSURE’S SIGN
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Coined the term – ‘Semiology’
Dyadic model – consists of both
aSignifier (for example the word
‘Tree’ or a musical phrase) and
Signified (The Concept - what it
stands for – its meaning!)
According to Saussure –
meaning is a combination of
both –
He called this ‘arbitrary
relationship a ‘Sign’

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Notes
Scales
Chords
Production Effects
Posture/Dress of
Performers
Gestures such as
crescendos, time signature
changes, etc.
Etc, etc?
Combinations of these

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Signifier: A piece with a slow tempo, a high
pitched female solo voice, synthesized strings,
or gently arpeggiated piano chords
Signified: Vulnerability, love, romance, social
acceptance, etc.
For example Listen to and make some notes
what the following music makes you feel:
Adagio for Strings by Samuel Barber
Symphony no. 3 by Goricki

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Platoon
Symphony of Sorrowful Songs
On these occasions – we need to differentiate between
what music means – and what it means HERE
Also need to differentiate between what music means
and its EFFECTS on us
Music and Image work together dialogically (together)
Words and Pictures – Denotative (literal)
Music – often Connotative (associative)
When placed with image/words – meaning in music
can be made more specific

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Place on my blog an example of how both
musical and visual signified/signifiers work