[{"@context":"http:\/\/schema.org\/","@type":"BlogPosting","@id":"https:\/\/wiki.edu.vn\/en\/wiki40\/musical-analysis-wikipedia\/#BlogPosting","mainEntityOfPage":"https:\/\/wiki.edu.vn\/en\/wiki40\/musical-analysis-wikipedia\/","headline":"Musical analysis – Wikipedia","name":"Musical analysis – Wikipedia","description":"This article is about the process or academic discipline of music analysis. For the academic journal by that name, see","datePublished":"2017-08-28","dateModified":"2017-08-28","author":{"@type":"Person","@id":"https:\/\/wiki.edu.vn\/en\/wiki40\/author\/lordneo\/#Person","name":"lordneo","url":"https:\/\/wiki.edu.vn\/en\/wiki40\/author\/lordneo\/","image":{"@type":"ImageObject","@id":"https:\/\/secure.gravatar.com\/avatar\/c9645c498c9701c88b89b8537773dd7c?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/c9645c498c9701c88b89b8537773dd7c?s=96&d=mm&r=g","height":96,"width":96}},"publisher":{"@type":"Organization","name":"Enzyklop\u00e4die","logo":{"@type":"ImageObject","@id":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","url":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","width":600,"height":60}},"image":{"@type":"ImageObject","@id":"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/0\/0b\/Musical_analysis_shape.png\/175px-Musical_analysis_shape.png","url":"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/0\/0b\/Musical_analysis_shape.png\/175px-Musical_analysis_shape.png","height":"175","width":"175"},"url":"https:\/\/wiki.edu.vn\/en\/wiki40\/musical-analysis-wikipedia\/","about":["Wiki"],"wordCount":7891,"articleBody":"This article is about the process or academic discipline of music analysis. For the academic journal by that name, see Music Analysis (journal).Musical analysis is the study of musical structure in either compositions or performances. According to music theorist Ian Bent, music analysis “is the means of answering directly the question ‘How does it work?'”. The method employed to answer this question, and indeed exactly what is meant by the question, differs from analyst to analyst, and according to the purpose of the analysis. According to Bent, “its emergence as an approach and method can be traced back to the 1750s. However it existed as a scholarly tool, albeit an auxiliary one, from the Middle Ages onwards.”The principle of analysis has been variously criticized, especially by composers, such as Edgard Var\u00e8se’s claim that, “to explain by means of [analysis] is to decompose, to mutilate the spirit of a work”.[4]Table of ContentsAnalyses[edit]Techniques[edit]Discretization[edit]Composition[edit]Analytical situations[edit]Compositional analysis[edit]Perceptual analysis[edit]Analyses of the immanent level[edit]Nonformalized analyses[edit]Formalized analyses[edit]Intermediary analyses[edit]Divergent analyses[edit]See also[edit]References[edit]Sources[edit]Further reading[edit]External links[edit]Analyses[edit]Some analysts, such as Donald Tovey (whose Essays in Musical Analysis are among the most accessible musical analyses) have presented their analyses in prose. Others, such as Hans Keller (who devised a technique he called Functional Analysis) used no prose commentary at all in some of their work.[citation needed]There have been many notable analysts other than Tovey and Keller. One of the best known and most influential was Heinrich Schenker, who developed Schenkerian analysis, a method that seeks to describe all tonal classical works as elaborations (“prolongations”) of a simple contrapuntal sequence. Ernst Kurth coined the term of “developmental motif”[citation needed]. Rudolph R\u00e9ti is notable for tracing the development of small melodic motifs through a work,[citation needed] while Nicolas Ruwet’s analysis amounts to a kind of musical semiology.[citation needed]Musicologists associated with the new musicology often use musical analysis (traditional or not) along with or to support their examinations of the performance practice and social situations in which music is produced and that produce music, and vice versa. Insights from the social considerations may then yield insight into analysis methods.Edward T. Cone[[[Wikipedia:Citing_sources”>[33]Formalized analyses[edit]Formalized analyses propose models for melodic functions or simulate music. Meyer distinguishes between global models, which “provide an image of the whole corpus being studied, by listing characteristics, classifying phenomena, or both; they furnish statistical evaluation,” and linear models which “do not try to reconstitute the whole melody in order of real time succession of melodic events. Linear models … describe a corpus by means of a system of rules encompassing not only the hierarchical organization of the melody, but also the distribution, environment, and context of events, examples including the explanation of ‘succession of pitches in New Guinean chants in terms of distributional constraints governing each melodic interval’ by Chenoweth the transformational analysis by Herndon, and the ‘grammar for the soprano part in Bach’s chorales [which,] when tested by computer … allows us to generate melodies in Bach’s style’ by Baroni and Jacoboni.[[[Wikipedia:Citing_sources”>[48] analyses the succession as D:I\u2013VII.Nattiez argues that this divergence is due to the analysts’ respective analytic situations, and to what he calls transcendent principles (1997b: 853, what George Holton might call “themata”), the “philosophical project[s]”, “underlying principles”, or a prioris of analyses, one example being Nattiez’s use of the tripartitional definition of sign, and what, after epistemological historian Paul Veyne, he calls plots.Van Appledorn sees the succession as D:I\u2013VII so as to allow the interpretation of the first chord in measure five, which Laloy sees as a dominant seventh on D (V\/IV) with a diminished fifth (despite that the IV doesn’t arrive till measure twelve), while van Appledorn sees it as a French sixth on D, D\u2013F\u266f\u2013A\u266d\u2013[C] in the usual second inversion. This means that D is the second degree and the required reference to the first degree, C, being established by the D:VII or C major chord. “The need to explain the chord in measure five establishes that C\u2013E\u2013G is ‘equally important’ as the D\u2013(F)\u2013A of measure one.” Leibowitz[[[Wikipedia:Citing_sources”>^ Cone 1989,[page\u00a0needed].^ Dahlhaus 1989, 8, 29 cited in Bauer 2004, 131^ Nattiez 1990, 136, who also points to Nettl 1964, 177 harvnb error: no target: CITEREFNettl1964 (help)[incomplete short citation], Boretz 1972, 146, and Meyer harvnb error: no target: CITEREFMeyer (help)[incomplete short citation][[[Wikipedia:Citing_sources”>^ Baroni and Jacoboni 1976,[page\u00a0needed]. sfn error: no target: CITEREFBaroni_and_Jacoboni1976 (help)[[[Wikipedia:Citing_sources”>^ Leibowitz 1971,[page\u00a0needed].Sources[edit]Babbitt, Milton. 1972. “Contemporary Music Composition and Music Theory as Contemporary Intellectual History”. In Perspectives in Musicology: The Inaugural Lectures of the Ph. D. Program in Music at the City University of New York, edited by Barry S. Brook, Edward Downes, and Sherman Van Solkema, 270\u2013307. New York: W. W. Norton. ISBN\u00a00-393-02142-4. Reprinted, New York: Pendragon Press, 1985. ISBN\u00a00-918728-50-9.BaileyShea, Matt. 2007. “Filleted Mignon: A New Recipe for Analysis and Recomposition“. Music Theory Online 13, no. 4 (December).Bauer, Amy. 2004. “‘Tone-Color, Movement, Changing Harmonic Planes’: Cognition, Constraints, and Conceptual Blends in Modernist Music”, in The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology, edited by Arved Ashby, 121\u2013152. Eastman Studies in Music 29. Rochester: University of Rochester Press; Woodbridge: Boydell and Brewer, Ltd. ISBN\u00a01-58046-143-3.Bent, Ian. 1987. Analysis. London: MacMillan Press. ISBN\u00a00-333-41732-1.Bernard, Jonathan. 1981. “Pitch\/Register in the Music of Edgar Var\u00e8se.” Music Theory Spectrum 3:1\u201325.Blacking, John (1973). How Musical Is Man?. Seattle: University of Washington Press. Cited in Nattiez 1990.Boretz, Benjamin. 1969. “Meta-Variations: Studies in the Foundationbs of Musical Thought (I)”. Perspectives of New Music 8, no. 1 (Fall\u2013Winter): 1\u201374.Boretz, Benjamin. 1972. “Meta-Variations, Part IV: Analytic Fallout (I)”. Perspectives of New Music 11, no. 1 (Fall\u2013Winter): 146\u2013223.Chailley, Jacques. 1951. La musique m\u00e9di\u00e9vale, with a preface by Gustave Cohen. Les grands musiciens 1. Paris: Coudrier.Chenoweth, Vida. 1972. Melodic Perception and Analysis. [Ukarumpa, E.H.D., Papua New Guinea]: Summer Institute of Linguistics.Christ, William (1966), Materials and Structure of Music (1st\u00a0ed.), Englewood Cliffs, New Jersey: Prentice Hall, ISBN\u00a00-13-560342-0, OCLC\u00a0412237 LCC\u00a0MT6 M347 1966. Cited in Nattiez 1990.Cone, Edward. 1989. “Analysis Today”. In Music: A View from Delft, edited by[full citation needed], 39\u201354. Chicago: University of Chicago Press. ISBN\u00a0978-0-226-11470-5; ISBN\u00a0978-0-226-11469-9. Cited in Satyendra.Dahlhaus, Carl. 1989. The Idea of Absolute Music, translated by Roger Lustig. Chicago and London: University of Chicago Press.DeVoto, Mark. 2003. “Analysis”. The Harvard Dictionary of Music, fourth editions, edited by Don Michael Randel. Cambridge, Massachusetts: Harvard University Press. ISBN\u00a00-674-01163-5.Guck, Marion A. (1994). “Rehabilitating the incorrigible”, Theory, Analysis and Meaning in Music, ed. Anthony Pople. Cambridge: Cambridge University Press: 57\u201374.Laloy, L. 1902. “Sur deux accords”, Revue musicale. Reprinted in La musique retrouv\u00e9e. Paris: Plon, 1928, pp.\u00a0115\u2013118. Cited in Nattiez 1990.Fred LerdahlLeibowitz, Ren\u00e9. 1971. “Pell\u00e9as et M\u00e9lisande ou les fant\u00f4mes de la r\u00e9alit\u00e9”, Les Temps Modernes, no. 305:891\u2013922. Cited in Nattiez (1990).Nattiez, Jean-Jacques 1990. Music and Discourse: Toward a Semiology of Music, translated by Caroline Abbate. Princeton: Princeton University Press. ISBN\u00a00-691-02714-5. French original: Musicologie g\u00e9n\u00e9rale et s\u00e9miologue, Paris:[full citation needed], 1987.Reti, Rudolph. 1951. The Thematic Process in Music. London: Faber & Faber.Rosen, Charles. 1971. The Classical Style. New York: The Viking Press. ISBN\u00a09780670225101.Satyendra, Ramon. “Analyzing the Unity within Contrast: Chick Corea’s ‘Starlight'”.[full citation needed] Cited in Stein 2005.Scruton, Roger. 1978.[full citation needed].Sessions, Roger 1951. Harmonic Practice. New York: Harcourt, Brace. LCCN 51-8476.Stein, Deborah. 2005. Engaging Music: Essays in Music Analysis. Oxford and New York: Oxford University Press. ISBN\u00a00-19-517010-5.Tovey, Donald Francis. 1978 [1935\u20131939]. Essays in Musical Analysis, 6 vols. Oxford and New York: Oxford University Press.van Appeldorn, M.-J. 1966. “Stylistic Study of Claude Debussy’s Opera Pell\u00e9as et M\u00e9lisande“. Ph.D. diss., Rochester: Eastman School of Music. Cited in Nattiez (1990).Further reading[edit]Cook, Nicholas. 1992. A Guide to Musical Analysis. ISBN\u00a00-393-96255-5.Hoek, D. J. (2007). Analyses of Nineteenth- and Twentieth-Century Music, 1940\u20132000. ISBN\u00a00-8108-5887-8.Kresky, Jeffrey. 1977. Tonal Music: Twelve Analytic Studies. ISBN\u00a00-253-37011-6.Poirier, Lucien, ed. 1983. R\u00e9pertoire bibliographique de textes de presentation generale et d’analyse d’oeuvres musicales canadienne, 1900\u20131980 = Canadian Musical Works, 1900\u20131980: a Bibliography of General and Analytical Sources. ISBN\u00a00-9690583-2-2External links[edit]"},{"@context":"http:\/\/schema.org\/","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"item":{"@id":"https:\/\/wiki.edu.vn\/en\/wiki40\/#breadcrumbitem","name":"Enzyklop\u00e4die"}},{"@type":"ListItem","position":2,"item":{"@id":"https:\/\/wiki.edu.vn\/en\/wiki40\/musical-analysis-wikipedia\/#breadcrumbitem","name":"Musical analysis – Wikipedia"}}]}]