Musical analysis is the attempt to answer the question how does this music 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 Ian Bent (Bent, 1987), analysis is "an approach and method can be traced back to the 1750s ... it existed as a scholarly tool, albeit an auxiliary one, from the Middle Ages onwards." A.B. Marx was influential in formalising concepts about composition and music understanding towards the second half of the 19th century.
The principle of analysis has been variously criticized, especially by composers, such as Edgard Varèse's claim that, “to explain by means of is to decompose, to mutilate the spirit of a work” (quoted in Bernard 1981, 1).
Read more about Musical Analysis: Analyses, Techniques, Analytical Situations, Divergent Analyses
Famous quotes containing the words musical and/or analysis:
“Then, bringing me the joy we feel when wee see a work by our favorite painter which differs from any other that we know, or if we are led before a painting of which we have until then only seen a pencil sketch, if a musical piece heard only on the piano appears before us clothed in the colors of the orchestra, my grandfather called me the [hawthorn] hedge at Tansonville, saying, “You who are so fond of hawthorns, look at this pink thorn, isn’t it lovely?””
—Marcel Proust (1871–1922)
“Analysis as an instrument of enlightenment and civilization is good, in so far as it shatters absurd convictions, acts as a solvent upon natural prejudices, and undermines authority; good, in other words, in that it sets free, refines, humanizes, makes slaves ripe for freedom. But it is bad, very bad, in so far as it stands in the way of action, cannot shape the vital forces, maims life at its roots. Analysis can be a very unappetizing affair, as much so as death.”
—Thomas Mann (1875–1955)