Muzyczne Moi i Soi w semiotyce egzystencjalnej Eero Tarastiego

The paper aims to examine the relationship between two sides of the “musical organ- ism” – the Moi and the Soi – as formulated in Eero Tarasti’s existential semiotics. The author of mentioned variation of semiotics creates, by means of the concepts of the Moi and the Soi, models that have regard to shifts from the singular to the communal (and the other way around). The Moi represents an “interiority”, the existential ego of sub- ject, whereas the Soi corresponds to what is socially determined. The first is, therefore, a specific bundle of sensations, while the second is realized in discursive activity. Hence social Soi constitutes space connecting creators and makes communication between them possible (and mutual deriving from each other as well). I begin by addressing Tarasti’s philosophical and semiotic inspirations. Thereafter, I shift to describe the prin- ciples of Moi and Soi and relation between them. Subsequently, I introduce biosemiot- ical notions employed by Tarasti, i.e. the Ich-Ton and the Dich-Ton, in order to discuss the semiotic self in terms of subject’s encounter with the Other. Examining of all men- tioned concepts will allow to present a working of semiotic square’s coordinates with- in a musical work, as well as to refer to Roland Barthes’ distinction between the geno- text and the phenotext. Tarasti identifies this distinguishing with his own demarcation between the Moi and the Soi.