In this post, Michael Dickson discusses his article recently published in Ergo. The full-length version of Michael’s article can be found here.

While scholars have often discussed the artifacts created from musical notation (scores), philosophical exploration of the nature of notation is relatively sparse. My essay “Musical Notation” takes a step back to address foundational questions about notation: What is it? What and how does it express? And what are the implications of this expression?
In my essay, I do not offer an exhaustive philosophy of notation, but I develop a framework that accommodates the complexity and context-dependence inherent in musical notation. The essay focuses on notation in the Western tradition, itself quite diverse, and does not pursue a comprehensive treatment of other traditions.
My approach differs from Nelson Goodman’s work on this topic in two ways: firstly, it avoids his nominalist commitments and, secondly, it acknowledges that musical notation is not a formal language and resists being treated as such.
To ground the discussion, I introduce four desiderata for any theory of musical notation:
- Diverse Uses: The theory must explain the various roles notation plays – e.g., prescriptive (as in scores), mnemonic, transcriptional, pedagogical, and analytic.
- Diverse Systems: The theory must accommodate the multitude of notational systems and their integration with specific musical practices.
- Extra-notational Interaction: The theory should account for how notation interacts with contextual information, such as titles, composer names, and stylistic indications.
- Entanglement with Practice: The theory must recognize that notation is deeply interwoven with the practices it supports, reflecting the cultural, historical, and practical contexts of its use.
I distinguish various types of symbol: for example, sonic symbols, such as quarter-notes, which relate directly to the production of a sound, and supporting symbols, such as staves and clefs, which provide context for establishing the meaning of sonic symbols.
I then turn to disentangling the components of musical notation.
- Symbol-forms are the abstract shapes or other configurations (such as the shape of a notehead or a rest) that carry musical meaning.
- Symbol-engravings are the physical manifestations of these forms, found in scores and other notational media.
- Symbols themselves are abstract entities, created through the association of symbol-forms with meanings, intended for use within a notational system.
This model allows for a nuanced understanding of how notation functions. For instance, the same symbol-form (e.g., a dot) can have different meanings depending on context, as seen in late medieval mensural notation where dots signify various rhythmic values. Similarly, the variability of symbol-engravings, especially in historical manuscripts, underscores the flexibility of notation. A quarter-note engraved as an odd squiggle by Janáček might differ morphologically from the standard engraving, but it remains a quarter-note because of its role within the system.
Symbols are not reducible to their forms or engravings. They are abstract artifacts with meanings and relationships that evolve over time. A clear illustration of this can be found in the historical development of rhythmic notation in the 13th-century treatise De mensurabili musica, where symbols (like the semibrevis) were created by associating specific forms with new rhythmic meanings.
A key contention of my essay concerns the meaning of musical symbols. I call it
Instructional Meaning: the thesis that musical notation denotes imperative meaning.
Musical instructions are open-ended and flexible. A whole note, for instance, instructs the performer to sustain a pitch for a duration but leaves details like dynamics, timbre, and phrasing to the performer’s discretion. This abstraction aligns with the nature of performance, where expertise and context fill in the gaps.
I also explore how instructions are expressed. Musical notation employs symbolic, iconic, and sometimes ostensive modes of expression. A crescendo marking might iconically represent a gradual increase in volume, while a symbolic convention determines its precise interpretation. This interplay of modes underscores the richness of notation as a medium for conveying meaning.
One notable feature of musical instructions is their self-directedness. Unlike instructions for baking bread, where the aim is an external product, musical instructions aim at their own enactment. Performing a push-up or playing a scale exemplifies this self-directedness; the goal is the performance of the action itself, irrespective of downstream objectives like fitness or musical presentation.
I contrast Instructional Meaning with
Sonicism: the thesis that notation denotes fixed sonic structures.
Sonicism struggles to account for the variability of performance and interpretation. If scores were tied univocally to specific sonic outcomes, much of the nuance and adaptability of musical practice would be lost.
Instructional Meaning, by contrast, reflects the fact that performers interpret scores as flexible guides, not rigid blueprints. For example, debates about whether a modern piano performance of Bach’s Goldberg Variations constitutes a ‘genuine performance’ illustrate the interpretative richness of musical instructions. These debates arise because the instructions encoded in notation (like all instructions) are always mediated by the norms and practices of interpretation.
Instructional Meaning also makes good sense of unperformable scores – notations that describe impossible actions, such as each performer playing louder than the others. Such scores reinforce Instructional Meaning because their interest lies not in any hypothetical sonic outcome but in the instructions themselves and the conceptual engagement they provoke.
Another strength of Instructional Meaning is its ability to account for extra-notational elements. Titles, composer names, stylistic annotations, and other markings often influence how performers interpret scores. For instance, the tempo marking “Maestoso” in Beethoven’s Piano Sonata No. 32 shapes the performer’s approach, even though it is not part of the core sonic symbols. These interactions demonstrate how musical instructions (like all instructions) are embedded within broader interpretative contexts.
My essay emphasizes that musical notation is inextricably linked to the practices it supports. Understanding a notational system requires familiarity with the cultural and historical context in which it operates. For example, the rhythmic notation of the Notre Dame school of polyphony relies on an implicit knowledge of rhythmic modes specific to that practice. Similarly, contemporary chord symbols like “Fm7” depend on the tonal conventions of modern music. This entanglement underscores the limitations of treating musical notation as a formal language. Instead, musical notation must be understood as part of a dynamic, context-sensitive practice.
In the conclusion, I speculate on the ontological implications of Instructional Meaning. If musical scores represent musical pieces, and if scores express instructions, then perhaps musical pieces themselves are instructions. This view aligns with the observation that musical pieces are created, instantiated, and contextualized within specific practices. By conceiving musical works as instructions, we gain a fresh perspective on their nature and the role of notation in their realization.
Want more?
Read the full article at https://journals.publishing.umich.edu/ergo/article/id/5706/.
About the author

Michael Dickson is Professor of Philosophy at the University of South Carolina. For many years he worked in philosophy of science, especially physics. More recently his work has focused on the philosophy of music and psychiatry.