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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."
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.
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 ...
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 ...
The generative theory of tonal music (GTTM) is a system of music analysis developed by music theorist Fred Lerdahl and linguist Ray Jackendoff. [1] First presented in their 1983 book of the same title, it constitutes a "formal description of the musical intuitions of a listener who is experienced in a musical idiom" [1] with the aim of illuminating the unique human capacity for musical ...
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Eduard Hanslick (11 September 1825 – 6 August 1904) was an Austrian music critic, aesthetician and historian. [1] Among the leading critics of his time, he was the chief music critic of the Neue Freie Presse from 1864 until the end of his life.
She argues, “Rhetorical criticism has not provided firm guidance on what constitutes a genre” and a “rhetorically sound definition of genre must be centered not on the substance or the form of discourse but on the action it is used to accomplish.” [9] Miller also argues that new media genres may develop and formalize more quickly than ...