In performing Western art music (WAM), a “chain of command” is assumed from composer(s) to audience(s)—via performer(s). The performer’s task entails the problem of semiotic space: the task is to interpret the instructions for conveying the composer’s message to the audience, accommodate them and the relevant performance practices with one another, but also to add their own personal, expressive, innovative, creative contribution that defines them as the performer while attending to the production of an experience of the audience. The performer’s semiotic space is delineated by what the performer must, will, knows to, and can do (and be). Pertaining to praxis beyond mere decoding and recoding, beyond mere (re)production of sound, musical interpretation calls for extensive capacities of feeling, skill, and knowledge. This article attempts to interpret the notion of musical interpretation and the associated capacities of feeling, skill, and knowledge by means of the Peircean notion of the interpretant. It appears the arsenal of immediate, dynamical, and final with Peirce’s other categories for interpretants (such as emotional, energetic, and logical) can well be used to tackle the complexity of semiotic mediation in performance—and perhaps developed further.