On an interpersonal hypothesis in the semiotic of music

Is music a sort of non-verbal language conveying meanings to listeners? In this article, one part of this old controversial subject is approached experimentally. Reasons are given for the hypothesis that the works of music signify interpersonal tendencies which are understood and reacted to by the listeners who in this way participate in fantasy on the interpersonal transactions of the composer. Some links are shown which connect the present problem with semiotic, general systems theory, psychology both normal and pathological, psychoanalysis and ethology.