112 Stefan Koelsch correctly an inner state, and (2) to guarantee the correct language use which is not controlled by other speakers. This means (3) that it is impossible for the speaker to know whether his or her use corresponds to the rules of the linguistic community, and (4) whether his or her use is the same in different situations. According to Witt-genstein, correct use of the feeling vocabulary is only possible in speci c language games. Instead of assuming a direct interaction of subjective feelings and language, Gunter Gebauer (2011) we proposed that feeling sensations (Wittgenstein’s “Emp- ndungen”) are reconKgured by linguistic expressions (although recon guration is not obligatory for subjective feeling). This means that there is no (direct) link, or translation between feelings and words, posing fundamental problems for any as-sumption of a speci city of verbal communication about emotions. However, affect-ive prosody, and perhaps even more so music, can evoke feeling sensations (”Emp ndungen”) which, before they are recon gured into words, bear greater in-ter-individual correspondence than the words that individuals use to describe these sensations. In other words, although music seems semantically less speci c than language (e. g. Slevc & Patel, 2011; Fitch & Gingras, 2011), music can be more spe-ci c when it conveys information about feeling sensations that are problematic to express with words because music can operate prior to the recon guration of feeling sensations into words. Note that, in spoken language, affective prosody also operates in part on this level, because it elicits sensational processes in a perceiver that bear resemblance to those that occur in the producer. I refer to this meaning quality as a priori musical meaning.The recon guration of a feeling sensation into language involves the activation of representations of a meaningful concepts (such as ‘joy’, ‘fear’, etc.; Zentner et al., 2008, report a list of 40 emotion words typically used by Western listeners to de-scribe their music-evoked feelings. Such activation presumably happens without conscious deliberation, and even without conscious (overt or covert) verbalization, similarly to the activations of concepts by extra-musical sign qualities, of which in-dividuals are often not consciously aware.Personal Feeling sensations evoked by a particular piece of music, or music of a particular composer, can have a personal relevance, and thus meaning, for an individual in that they touch, or move, the individual more than feeling sensations evoked by other pieces of music, or music of another composer. This is in part due to inter-in-dividual differences in personality (both on the side of the recipient and on the side of the producer). Due to the fact that an individual has a personality (be it a receiver or producer of music), and that personalities differ between individuals, there are also inter-individual differences among receivers in the particular preference for, or connection with, a particular producer of music.For example, one individual is touched more strongly by Beethoven than by Mozart, another one vice versa. That is, music-evoked emotions can also be related to one’s inner self, sometimes leading to the experience that one recognizes oneself