In this study, the historical dimension, usage patterns, notation, and communication methods of Jean François Sudre’s “Langue Musicale Universelle” (“Sol Re Sol”), an artificial musical language, have been discussed. The aim of the research is to bring this forgotten musical language back into the spotlight, while also exploring Sudre’s idea of the universality of music and evaluating the benefits and limitations of this musical language. A qualitative method was used in the study, and a literature review was conducted. In the findings section, it is indicated that the “Langue Musicale Universelle” (“Sol Re Sol”) musical language consists of seven notes that are all part of the major scale. This musical language can be expressed in writing, by reading solfège, through singing, playing musical instruments, encoding with codes, hand gestures, drawings, colors, and other communication tools. Furthermore, it is observed that there exists a universal musical language accessible to individuals with visual, speech, or hearing impairments. Sudre posited the idea that music is a universal language, and a critical evaluation of this notion is presented in the conclusion section.

Music language, artificial language, universal music language, sign language.