Markedness theory provides, within the framework of a Peircean semiotic, a means of explaining expressive meaning in music. Asymmetrical marked-unmarked structural oppositions correlate with expressive oppositions and are further interpreted in light of a variety of stylistic and work-specific contexts. An example from Beethoven illustrates the process of further interpretation, incorporating historical evidence of genres and topics, as well as a close melodic, harmonic, and rhythmic analysis of a thematic motto. The interpretation leads to the concept of abnegation as a kind of musical trope. This approach is proposed as an alternative to those of Kofi Agawu (1991) and Jean-Jacques Nattiez (1990) with respect to expressive interpretation.
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