Abstract
The main question of this text is: If Peirce's semeiotic is a "truly general doctrine", how can it be used to describe music as a system of signs or how can be this doctrine applied in the specific case of jazz music? I would like to investigate two main sub-questions in this text, which are essentially related to the main one. The first is: What is the link between "music" and functions of "mind", from the point of view of Peirce's semeiotic and phenomenology? The problem is whether there is any link like this in Peircean philosophy and how does it work.
The second sub-question is: Can an analysis of selected chapters of jazz music and its specific way of improvisation tell us anything about signs, semiosis and Peircean semiotics in general?