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Abstract
Abstract The question of what meaning music conveys is an ancient and unresolved issue. Central to discussions have been the relation between meaning in language and meaning in music: In spite of obvious differences, the challenge remains of providing an account that could place the two areas as elements of the same overall picture. This paper suggests an approach based on advances in functional-cognitive linguistics on the one hand and cognitive semiotics on the other. From functional-cognitive linguistics it draws on two key elements: (1) a division between three sites of meaning, rather than a monolithic approach, recognizing that meaning in actual usage events, in individual brains, and in society cannot be reduced to one thing. (2) A division in actual usage events between ‘input’ and ‘meaning construction’, stressing the constitutive role of the recipient in understanding the nature of meaning. From cognitive semiotics it draws on the concept of the semiotic hierarchy. The key point is the understanding of the nature of meaning as a broader and more fundamental property than found in the linguistic tradition.
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