Musical semantics: Dimensions, processes, and neural correlates 111 quality is symbolic (and not emerging from one’s own physical activity in response to, and in synchrony with the music).Especially in non-Western cultures, musical meaning is grounded in social inter-action (see also Cross, 2011; Seifert, 2011). Considering the concepts of symbolic and musicogenic meaning aims at incorporating cultural phenomena in which “music is embedded in the fabric of everyday lives” (Cross, 2011). For example, we (Fritz et al., 2009) studied music perception in the Mafa people in Northern Cameroon, who have different pieces of instrumental music, each being associated with a certain ritual. Therefore, each song has a clear symbolic meaning. With regard to musico-genic meaning, I have emphasized that, especially during music making in a group, communicating and understanding intentions, and as well as inter-individual co-ordination of movements and actions is a pre-requisite for cooperation (Cross, 2011, refers to these functions as “relational” in terms of “involving the formation, main-tenance or restructuring of connections and af liations between participants”). These social functions are part of what makes us human, and engaging in these so-cial functions has meaning for the individual (for a more detailed description of these social functions see The Seven Cs in Koelsch et al., 2010). With regard to a com-parison between meaning in music and language, Cross (2011) noted that the parti-cipatory, and therefore social, nature of music (affording us to experience coordina-tion, cooperation, group cohesion, spirituality, and the feeling to belong) represents a realm which “might best be thought of not as an autonomous realm but as a mode of human communication that is homologous with aspects of linguistic interaction” (ibid.).Emotional Musicogenic meaning can also emerge from emotions (or, more precisely, from un-verbalized feeling sensations) evoked by music. This view considers that feeling one’s own emotions is different from the recognition of emotion expressed by the music (Gabrielson & Juslin, 2003), the latter usually being due to indexical sign quality of music. The different principles by which music may evoke emotions are discussed elsewhere Koelsch, 2012); here, the meaning emerging from (mu-sic-evoked) emotions is discussed.A priori musical meaning The evocation of emotions with music has important implications for the speci city of meaning conveyed by music as opposed to language. The use of language for the communication of emotions faces several problems: In the paragraphs about rule following and the argument against the idea of a “private language”, Ludwig Witt-genstein (1984) demonstrates that “inner” states (like feelings) cannot be directly ob-served and verbally denoted by the subject who has these states. His argument shows that the language about feelings functions in a different mode than the gram-mar of words and things. Wittgenstein argues that it is not possible (1) to identify