This presentation juxtaposes the subjective and the objective in the study of musical signification. It makes an attempt at a vicious problem of notions general in their essence and prevalence. The interest is largely driven by general trends that challenge the position of research in music, semiotics, and humanities. The problem persists, for instance, in the communication of Western art music (WAM), where the performer has the task of objectively assessing the composer’s objectives in the and to mediate them, but with a personal subjective interpretation, for the breadth of the audience to subjectively experience, supposedly.The gist is that the juxtaposition is a false dichotomy that resolves to moderation on both sides, as the absolute objectiveness is mollified by fallibility of inquiry and the absolute subjectiveness by the shared embodied experience of the world. The presentation elaborates on this, based on classical and current pragmatist conceptions of inquiry, semiosis, embodiment, hard and soft facts, and cognitive metaphors. It addresses both the body-mind and the body-social problem.The reasoning points to considering to how our knowledge of a thing (our interpretation of it) conforms to interpersonal similarities: the hard facts of the normalized embodied core and the soft facts of the sociocultural agreement. The complement then comprises the realm of subjectivity. The fallibility of inquiry mollifies the objectiveness, and vice versa: thanks to the shared embodiment and shared sociocultural agreements, the privacy of the subjectiveness can be made public and communicated.