The model of semiosis permits us the examination of the ‘sign’: music, in its structure, in its demonstration and its usefulness which implies correspondence and implication. Accordingly, we can distinguish ‘the music-sign’ through the statement of the sense—the feeling that “is imagined as a proof, as the sentiment of understanding, in an exceptionally normal manner” and through the centrality. In this way, our direction suggests ‘sign’, ‘articulation’, ‘connotation’— the set of three that unites the directions of semiosis; characterized, it, by Charles S.Peirce through the participation of the sign, its question and its interpreting and by U.Eco: “the procedure through which the experimental people convey and the procedures of correspondence end up conceivable on account of the frameworks of centrality”. This semiosis is placed in proving by various semiotic models: the “semiotic triangle” proposed by Ch.K.Ogden and I.A.Richards, proceeding somehow the Aristotelian and the Augustinian portrayal about the treble idea of the verbal sign; “the semiotic trapezium” of K.Heger and K.Baldinger “the hexode” expressed by R.Jakobson regarding the graceful capacity in dialect, the hexamenous model of the “academic circumstance” in Olivier Clouzot’s origination, demonstrate swung to account in Romanian semiotics by Petru Ioan as “head of the ‘semiotic circumstance’.
To start our ethos music essay, we must first say that the semiosis of ‘music-ethos’ at the old Greeks shows up in its totality—we will see—by the drawing nearer of the ‘sign-work’ at the level of principle parts of music (modes, rhythms, sorts, vibrant registers, the instruments used) and, in this manner by the integrative implication of music. The semiotic investigation—through the valences of the hypothetical setup of the structure on which an origination is based, offers the likelihood of (re)building the melodic social actuality in the skyline of the correspondence (in a bigger sense, trade of message in the demonstration of transmission – gathering), past which an arrangement of implication is built up (the created connotations ended up being in correspondence with a troupe of moral qualities); in this way, the ‘ethos-music’— at the ground of correspondence and noteworthiness—explanation behind a notable truth by the semioticians, that is: