Hideyuki Yoshino

More than ten years ago, I argued the question of the concept of "score" in Nelson Goodman's semiotics of music. I then pointed out : that one symbol beyond the score appears as he states in Languages of Art (LA for short) that a musical performance exemplifies it ; and that he fails to define the symbol (I call it (S1)). My discussion, however, was limited to LA at that time. And it remains an unsettled question how it works in the music we actually hear, the performance (dense). The purpose of this paper is to give (S1) a definite status as a musical symbol. Thus the present paper is written with the aim of developing our previous argument further. In order to achieve this aim, first, I shall outline briefly Goodman's philosophy (ChapterII). Second, I attempt to find out any statement that suggests the presense of (S1) in his books after LA, and to clarify the nature and function of (S1) my own way. In that course, the most important point to note for me is that he changes, expands his work-concept. That is to say, the concept of "work" in LA, I believe, should be distinguished from that in his later books. This topic will be dealt with in Chapter III. The reason why I discuss this topic is that it seems to offer the key to an understanding of the symbol (S1). And lastly, giving a few pieces of indirect evidence that a musical performance exemplifies (S1), I shall reconsider his exemplificational systems of music (Chapter IV). These systems (I shall indicate them by a diagram) help understand how works (S1) that a performance exemplifies in the actual music. In these systems (S1) functions as an important symbol. To put it concretely, (S1) plays a role as a dense, aesthetic symbol, not as an articulate one for work-identification. Moreover, adding (S1) to Goodman's musical exemplification could more smoothly link the world of music to the world of non-music. It follows from this that (S1) provides a useful means to see how musical exemplification works in worldmaking, what kind of version music makes, and so on.