A B S T R A C T Examples of falsetto and higher pitched modal voice are presented in which the meanings are linked iconically and/or indexically to the signs, and therefore nonarbitrarily. Nine such meaning types are identified and discussed as inferences about falsetto derivable from observations that are minimally informed by cultural traditions. Observational knowledge and the logic by which it is utilized are seen as central concepts mediating universals and relativist approaches to the social meanings of voice qualities, including falsetto, and it is proposed that most falsetto use can be placed within the nine functional meaning categories identified. (Voice quality, falsetto, iconicity, indexicality, observational logic, universals, relativity)* usually not arbitrary, but instead motivated, that is, not symbolic but rather iconic or indexical. To the extent that the linkages are motivated by cross-culturally relevant factors-specifically observable characteristics of the voice qualities themselvesthey can be generalized in import, even while maintaining the immediacy of cultural factors and the semiotic process in mediating the patterned coincidence of voice qualities with social functions and the contexts in which speech and other communicative acts take place. By using observational logic as a methodological tool for examining the relationship between sign and meaning and as a middle ground between universals and relativist positions, it is unnecessary to discount universals in favor of culturally specific motivations for voice qualities, and vice versa.Icons, indices, and symbols are somewhat idealized yet analytically separable sign types (Anttila 1972), mediating between the external referent world around us and our internal world of knowledge (Nöth 1995). Iconicity and indexicality, rather than being natural qualities, relationships, or processes in and of themselves, derive meaning in human communication through their mediation of semiotic relationships, but the meanings of icons and indices are related to these signs by way of similarity and contextual contiguity respectively and are thus motivated. At least some of their meanings, then, can be acquired from the signs themselves. Symbols, however, are related to their meanings arbitrarily, by cultural convention, contextually situated, and culturally specific.Cultural traditions, knowledge, assumptions, and logic do not provide the only input to our interpretation of what goes on around us. Many signs are experienced that do not have to depend on language or culture for their interpretation. Interpretation of linguistic signs (i.e. symbols) does require cultural knowledge but voice qualities as paralinguistic features, while informed by the specific cultural contexts in which they occur, appear to have some autonomy by virtue of a usually motivated relationship of sign (sign vehicle) to the meaning, which leads to a hypothesis relating to the use of falsetto voice and higher pitches in modal voice.