I have recently been reading Thomas Turino's book Music in Social Life - which is much to be recommended as a pretty much optimal balance between intelligence and accessibility, by the way. You can tell he is both an experienced researcher and has spent lots of time framing concepts so as to make sense to non-specialist undergraduates.
One of the things I have been finding quite striking about it is the way he uses Peircean semiotics. I'm aware, by the way, that this post is going to get rather niche for a few paragraphs, but it might open out again into more generalist territory towards the end. We'll see.
I usually describe my own musicological interests in terms of being about 'music and its social meanings', which encompasses both my PhD on music and gender in historical repertories and my increasingly ethnomusicological trajectory through my two books. But right at the start of this interest lies an undergraduate dissertation on music and semiotics, that in many ways underpins everything I've done since, but which rarely shows its theoretical colours directly in what I write.