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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."
Engaging Music: Essays in Music Analysis. Oxford and New York: Oxford University Press. ISBN 0-19-517010-5. Tovey, Donald Francis. 1978 [1935–1939]. Essays in Musical Analysis, 6 vols. Oxford and New York: Oxford University Press. OCLC 912417. van Appeldorn, M.-J. 1966. "Stylistic Study of Claude Debussy's Opera Pelléas et Mélisande". Ph.D ...
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 ...
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.
Each volume focused on a certain genre of orchestral or choral music (for example, Volumes I and II were devoted to Symphonies; Volume III to Concertos), with many of the works discussed with the help of music examples. In 1944, a posthumous seventh volume appeared on chamber music. In 1989, a new version was published with some essays omitted ...
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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Schenkerian analysis is a method of analyzing tonal music based on the theories of Heinrich Schenker (1868–1935). The goal is to demonstrate the organic coherence of the work by showing how the "foreground" (all notes in the score) relates to an abstracted deep structure, the Ursatz.