Editing Semiotics (section)

=== Musical topic theory ===
Semiotics can be directly linked to the ideals of musical topic theory, which traces patterns in musical figures throughout their prevalent context in order to assign some aspect of narrative, affect, or aesthetics to the gesture. Danuta Mirka's ''The Oxford Handbook of Topic Theory'' presents a holistic recognition and overview regarding the subject, offering insight into the development of the theory.<ref>Mirka, Danuta, ed. ''The Oxford handbook of topic theory''. Oxford Handbooks, 2014.</ref> In recognizing the indicative and symbolic elements of a musical line, gesture, or occurrence, one can gain a greater understanding of aspects regarding compositional intent and identity.

Philosopher Charles Pierce discusses the relationship of icons and indexes in relation to signification and semiotics. In doing so, he draws on the elements of various ideas, acts, or styles that can be translated into a different field. Whereas indexes consist of a contextual representation of a symbol, icons directly correlate with the object or gesture that is being referenced.

In his 1980 book ''Classic Music: Expression, Form, and Style,'' Leonard Ratner amends the conversation surrounding musical tropes—or "topics"—in order to create a collection of musical figures that have historically been indicative of a given style.<ref>"Classical Music: Expression, Form, and Style." (1980).</ref> Robert Hatten continues this conversation in ''Beethoven, Markedness, Correlation, and Interpretation'' (1994), in which he states that "richly coded style types which carry certain features linked to affect, class, and social occasion such as church styles, learned styles, and dance styles. In complex forms these topics mingle, providing a basis for musical allusion."<ref>Hatten, Robert S. ''Musical meaning in Beethoven: Markedness, correlation, and interpretation''. Indiana University Press, 2004.</ref>