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The musicologist Winton Dean has suggested that "music is probably the most difficult of the arts to criticise." [2] Unlike the plastic or literary arts, the 'language' of music does not specifically relate to human sensory experience – Dean's words, "the word 'love' is common coin in life and literature: the note C has nothing to do with breakfast or railway journeys or marital harmony."
Some definitions refer to music as a score, or a composition: [18] [7] [19] music can be read as well as heard, and a piece of music written but never played is a piece of music notwithstanding. According to Edward E. Gordon the process of reading music , at least for trained musicians, involves a process, called "inner hearing" or "audiation ...
According to music theorist Ian Bent, music analysis "is the means of answering directly the question 'How does it work?'". [2] 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.
Aesthetics of music is a branch of philosophy that deals with the nature of art, beauty and taste in music, and with the creation or appreciation of beauty in music. [1] In the pre-modern tradition, the aesthetics of music or musical aesthetics explored the mathematical and cosmological dimensions of rhythmic and harmonic organization.
In 1944, a posthumous seventh volume appeared on chamber music. In 1989, a new version was published with some essays omitted and the remainder of Volumes I-VI consolidated into two volumes. Tovey's Essays were written as introductory notes for the concert-going public and are occasionally light-hearted in tone. Nevertheless, they analyse the ...
Hector Berlioz, active as a music journalist in Paris in the 1830s and 1840s. Music journalism has its roots in classical music criticism, which has traditionally comprised the study, discussion, evaluation, and interpretation of music that has been composed and notated in a score and the evaluation of the performance of classical songs and pieces, such as symphonies and concertos.
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Leonard B. Meyer, in Emotion and Meaning in Music (1956), [1] distinguished "formalists" from what he called "expressionists": "...formalists would contend that the meaning of music lies in the perception and understanding of the musical relationships set forth in the work of art and that meaning in music is primarily intellectual, while the expressionist would argue that these same ...