Gabriel Pareyon (born October 23, 1974, Zapopan, Jalisco) is a polymathic Mexican composer and musicologist, who has published literature on topics of philosophy and semiotics.

[1] He previously studied at the Composers’ Workshop of the National Conservatoire of Music, Mexico City (1995–1998), led by Mario Lavista.

He also experimented with Mexican traditional instruments (such as huehuetl, teponaztli and a wide variety of woodwinds), and metre and phonetics from Nahuatl and Hñähñu, also known as the Otomí language.

[7] As musicologist, the publications of Pareyon contributed to recognize aspects of the new music from Mexico in his own country and abroad, e.g. in the explanation and extension of Julio Estrada's work (see McHard 2006, 2008:264).

Accordingly, his work is quoted, as early as from 2000, by international compilations about the music of Mexico (see e.g. Olsen & Sheehy 2000:108; Nattiez et al. 2006:125, 137, 1235) and specialised literature (see e.g. Brenner 2000:177; Madrid & Moore 2013:94, 126).

Pareyon's two-volume compendium totaling 1,134 pages is a paramount bibliographic recount of the lives and musical experiences of Mexican musicians and artists from preColumbian times to today.

The artistic, academic, cultural, social, and economic ties of Mexican musicians to the United States cannot be simply understood by such a significant number; however, this mere statistical value no doubt informs us about the strong musical relationships between the two countries.”In the field of systematic musicology, Pareyon’s book On Musical Self-Similarity (Helsinki, 2011)[9] predicts the role of analogy as one of the capital issues for future musicology and cognitive science, foreseeing conclusions of Hofstadter & Sander's Surfaces and Essences (2013).

[10] The book is frequently referenced in monographs, journals and dissertations, mainly in the fields of representation of temporal groups and semigroups, machine learning and human-machine hybrid composition, non-linear cognitive studies of musical processes, neural dynamic programming, and self-repetition algorithmic modelling.

Grandson of a textile worker from La Experiencia (Zapopan, Jalisco),[11] Pareyon’s article “Traditional patterns and textures as values for meaningful automatization in music”, published in Finland, in 2010,[12] is a seminal work proposing that textiles and traditional fabrics, generalized as frieze group patterns, may be and indeed are instructive as musical contents.

In musicology, a big question arises: can composers such as Chávez, Bartók, Sibelius, or Villa-Lobos, be judged as conquerors of local traditions, for the sake of the expansion of Classical music?

Or are they rather cathartic agents of musical synthesis, attempting to save diversity in spite of an unavoidable, progressive unitarism as a process of cultural self-transformation?”Finally, this idea of diversity of music is developed in a later book, Resonancias del abismo como nación (in Spanish, 2021), as follows (page 372): “Faced with the disaster of monoculture, the metaphor of bioecological disaster is concomitant: the rapid increase in the rate of destruction of languages, traditions and traditional ways of life, quickly replaced by a single way of existence, usually called “progress” or “development”, and inspired by the North American model of egotistical and irrational consumption of resources, in the midst of the cultural desolation that derives from the reproduction of this system, leads humanity towards a form of generalized poverty never seen before.”Pareyon’s output in the field of semiotics is significant mainly through his capital contributions of polar semiotics, intersemiotic continuum and intersemiotic synecdoche.

This is deeply related to the semiotic quiddity aliquid stat pro aliquo, conventionally translated and adapted to the terms: “[A sign is] everything that stands for something else”.

Furthermore, Kotov and Kull (2011:183) specifies that (The) “semiosphere can be described as a semiotic continuum, a heterogeneous yet bounded space that is in constant interaction with other similar structures.”.

theory), introduced in chapter 3.8.1. of Pareyon’s On Musical Self-Similarity, expands this notion to the principle that “there is no any gap along or across the semiotic dimensions and its interpretants”.

[22] The classical concept of synecdoche, in which a term for a part of something is used to refer to the whole, or vice versa, here is embedded into a multidimensional semiotic depth.