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    #1

    Analysis

    Don't panic, I'm not going to talk about Schencker, Set Theory or other academic devices of torture that a certain poster (we shall not mention his/her name) considers a dead end or futile. I would like though to pick up on a comment The Dude made when I was trying to critique (objectively) Ed C's "analyses" on his blog site. I use the inverted commas without irony, by the way and as I said at the time, I don't do "jealousy", that really is not my style. Michael's comment (about not being able to read music) was also of interest, as it was that that got me thinking.
    So, whilst I don't call Ed C's efforts "analysis" (rather description, or a sort of sonic event log), I have to say I am at a loss at how one may meaningfully render transparent musical structure. Any ideas?
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    #2
    And whilst you're digesting my comments above, I would also like to draw attention to Ed C's "colour analyses" on his blog site. Again, my use of inverted commas is not ironic (not "scare quotes", in Richard Taruskin's parlance).
    Clearly, these analyses represent considerable work and thought, but I do wonder about their effectiveness. If it's just for the fun, OK, enjoy. If it's a serious attempt at analysis, I do have to ask what the starting principles are. And I'm not saying I could do any better, by the way.
    Would you care to enlighten me, Ed C. My "Philip Pills" are in the drawer, by the way. I only take them in extreme, high-blood pressure conditions.

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      #3
      Honestly Philip I'm not sure what you're on about. I think Ed does a damn good blog and gets pleasure out of doing and sharing it - does it matter if it isn't Tovey? Anyone without a great deal of musical knowledge would find Tovey utterly incomprehensible in a way they would not looking at Ed's Blog - Blog on I say Ed!
      'Man know thyself'

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        #4
        Originally posted by Peter View Post
        Honestly Philip I'm not sure what you're on about. I think Ed does a damn good blog and gets pleasure out of doing and sharing it - does it matter if it isn't Tovey? Anyone without a great deal of musical knowledge would find Tovey utterly incomprehensible in a way they would not looking at Ed's Blog - Blog on I say Ed!
        I'm not saying that Ed C doesn't do a damn good blog, and I hope Ed C keeps on blogging. Do you think the colour analyses reveal something about the musical structure, then?
        Tovey is hardly the benchmark analyst these days. I'm not knocking anyone who can't read music (though it is a cultural failing, it must be said, like not speaking a foreign language, and don't accuse me of elitism becase that will not wash), but I woud like Ed C, or others, to expain the benefit of the colour analyses. I'm sure it's hard work to do all that, but what's then point? I'm not jealous of his work, and I'm not being vitriolic.
        Last edited by Quijote; 04-08-2011, 12:35 AM. Reason: Extra thoughts

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          #5
          Originally posted by Philip View Post
          I'm not sayig that Ed C doesn't do a damn good blog, and I hope Ed C keeps on blogging. Do you think the colour analyses reveal something about the musical structure, then?
          No. Though, they do help the listener/watcher who is trying to understand the different parts of the classical style follow the parts.
          - I hope, or I could not live. - written by H.G. Wells

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            #6
            Originally posted by Preston View Post
            No. Though, they do help the listener/watcher who is trying to understand the different parts of the classical style follow the parts.
            What exactly do they help the listener/watcher do, Preston? I'm not looking for a punchup, here ! Please explain the benefit of these colour analyses to me.

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              #7
              Surely you understand this? However, they help the listener "follow along" with ease. For a beginner (as myself) trying to get a general understanding of sonata form they help to keep it organized. That is my understanding of them.
              Last edited by Preston; 04-08-2011, 04:22 AM.
              - I hope, or I could not live. - written by H.G. Wells

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                #8
                Listen for recurring material and its transformations - that's it. Thus a sonata begins with material from which some is selected for development, and at the end it comes back. In Beethoven these transformations then have a very heavy impact on how the returning material is presented. Thus in Opus 2 #3 (first movement) the opening figures are used in the development section. When the recapitulation arrives, much of the exposition is in fact heavily altered - recomposed, if you like.

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