Musical semantics: Dimensions, processes, and neural correlates 113 in the music in a particular, personal way. Personality-speci c characteristics, not-ably, are not con ned to emotional aspects. They are also refected in different extra-musical subjects (such as subjects chosen for program music – it is not a coincidence that Saint-Saens’ chose Le carnaval des animaux as subject, and Rachmaninoff The Isle of the Dead), and in personality-characteristic construction of musical structures (think of the statics of Bruckner’s symphonic constructions as opposed to the dy-namic constructions by Dvorak).Musical Semantics Musical semantics is the theory of musical meaning, including the description of how musical meaning is conveyed, and how musical information is interpreted by an individual (musical semiotics, on the other hand, is the theory of musical signs). Semantic processing (that is, processing of meaning) includes (a) storage of mean-ingful information, (b) activation of representations of meaningful information, c) selection of representations of meaningful information, and (d) integration of the semantic information of these representations with the previous semantic context. As for language, it remains to be speci ed where in the brain these processes are located, and how they are refected electrically in ERPs. However, the reported N400 studies indicate that these processes can be activated by musical information with regard to extra-musical meaning information, and the reported N5 studies suggest that semantic processes also emerge from (intra-musical) harmonic integration.Neural correlates The studies investigating semantic processes with music indicate that posterior tem-poral (neo)cortical regions store conceptual features, and not (only) lexical represent-ations (unless musical information elicits implicitly lexical access, which, however, does not seem likely because N400 priming effects are also observed when stimuli are not relevant for semantic tasks). It appears that the conceptual representations stored in posterior temporal cortex interface with a semantic network that is distrib-uted across different brain regions, particularly frontal regions (Lau et al., 2008; Friederici, 2009). This is consistent with the notion that the neural generators of the N5 are located in both temporal and frontal regions, and consistent with the af-fective priming studies showing (sub-threshold) activations of frontal areas during the semantic processing of musical information (Steinbeis & Koelsch, 2008a).7 Propositional semantics As mentioned in the Introduction, it appears that no musical tradition makes precise use of propositional codes (involving quanti ers, modals, or connectives), unless 7 Besson et al. (2011) raised the possibility that the N400 also refects intra-musical meaning (as in-dicated by N400 effects elicited by musical targets primed by musical stimuli): This is a valid point, which requires future investigation. One could argue that both musical prime and target sounds evoke representations of (extra-musical) meaningful concepts, but this remains to be speci ed.