Experience, Thought and Musicology. Music Analysis: Who Needs It?

Arnold Whittall
Analyses the Analysts
Author(s): Arnold Whittall
Source: The Musical Times, Vol. 134, No. 1804 (Jun., 1993), pp. 318-320
Published by: Musical Times Publications Ltd.
Stable URL: https://www.jstor.org/stable/1003052
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0

* Music analysis today

EXPERIENCE, THOUGHT
AND MUSICOLOGY
Arnold Whittall defends the 'small world' of musical analysis

Oi
Oi ne
nesalient
salientcharacteristic
characteristic
of present-day
of present-day
developeddeveloped
cultures musicology
cultures proclaims that music is not simply something that is
is
is aatendency
tendency to uneasiness
to uneasiness
when when
it comes
it to
comes
deciding
to deciding
written, played and listened to: as composition, music is created
where
wherethethe
line
line
must
must
be drawn
be drawn
betweenbetween
what canwhat
be permitted
can be permitted
and from a welter
and of sources - inspirations, feelings, thoughts, inten-
what
whatshould
should
be be
prohibited.
prohibited.
Confusion
Confusion
about standards,
about standards,
criteria andcriteria
tions, and
preferences, theories, techniques. Out of this process comes
values
valuesspreads
spreadsas various
as various
certainties
certainties
and uncertainties
and uncertainties
come demo- come demo-
a 'text' that is interpreted, both by the performers who realise it
cratically
cratically into
into
confrontation,
confrontation,
and such
andconfusions
such confusions
are even affect-
are evenandaffect-
by the listeners who 'receive' it. Just as it has taken many cen-
ing
ingthe
thesmall
smallworld
world
of serious
of serious
music music
- a possible
- a possible
result of aresult
situa- of a situa-
turies for the idea to become established that a composition need
tion
tionininwhich,
which,as Nicholas
as Nicholas
Cook Cook
spells it
spells
out, 'the
it out,
divergence
'the divergence
not be ephemeral - that its value might even inhere in its potential
between
betweenthe
the
wayway
in which
in which
musicmusic
is thought
is thought
about andabout
the way
and
inthe way in - so it has only gradually come about that a case can
immortality
which
whichitit
is is
experienced'
experienced'
may may
be regarded
be regarded
as 'a defining
as 'a defining
attribute of
attribute of contending that thinking about a composition as con-
be made for
musical culture'.1 struct as well as expression can, over a period of years, change the
Jonathan Harvey has recently remarked in this journal that 'the receiver's relationship with that composition. Thinking, in these
most striking feature of the contemporary music scene today is itsterms, may enrich understanding by intensifying the interaction
pluralism' - a circumstance which, he infers, promotes 'a fashionbetween a listening experience characterised by a tendency not to
for soft-centred and accessible contemporary music', somethingperceive forms as organic and integrated, and a thinking experience
implicitly at odds with his own concern 'to find a higher synthesis:owing more to theories of musical organisation that commonly
music of enhanced significance'.2 Such a view has points in com-promote, but occasionally challenge, assumptions about the unity
mon with the Adomo-inspired critique of the American musicolo- and coherence of compositions.
gist Rose Rosengard Subotnik, who condemns contemporary art It would be a very special kind of musician who chose to argue
music for its failure 'to make a socially compelling case for indi-that even to contemplate 'thinking about music' is psychologically
vidual values'; yet Subotnik praises 'popular' music because 'its
and spiritually injurious. Where disputes among musicians are
pluralism has been more encompassing, and its relativism more more likely to surface is in relation to the form such 'thinking'
positive, than their counterparts in art music'.3 should take. The question at once emerges: are some forms of
In their different ways, Harvey and Subotnik offer interpreta-
thinking about music a bad thing?
tions of culture and history which derive from interpretations of All interpretation can be regarded as inherently analytical. The
musical compositions: interpretations in the sense of consideredpianist studying a Beethoven sonata thinks of such technical mat-
responses which combine critical, emotional reactions with techni- ters as fingering and pedalling not as ends in themselves but as the
cal perceptions which are also perfectly capable of arousing strong means towards the projection of the interpreter's understanding of
feelings. These interpretations are inherently complex, not least inthe music. Performers like to think that they make sense of a struc-
the way they distinguish (often covertly) between degrees of good ture, no less than they create, or recreate, a coherent flow of feel-
and bad; and while it might be regarded as intolerant and dogmaticings. They will nevertheless be wary of ideas and theories which
to an uncivilised degree to declare openly that 'soft-centred' con-might seem to impinge on interpretation in ways performers
temporary music is bad, there are unambiguous contexts in which believe to be counter-intuitive. Performers are therefore often sus-
such a music must be seen as less desirable than the search for 'a picious of musicology, not so much because it might appear to
higher synthesis'. undervalue music's expressive content, but because its approach to
These distinctions pertaining to the critical response to musical music's forms and processes is too academic: rigid, mechanical,
styles and compositional initiatives are mirrored in that parallel replete with the barely repressed anxieties of those inadequates
world of musical interpretation centering on practical and academic who seek tenured refuge in ivory towers as far as possible from the
study. A comer of that world is occupied by musicologists, and blood and thunder of the real world. As it happens, musicologists

318 The Musical Times June 1993

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do not
not even
evenneed
needtotolook
looktoto
professional
professional
performers
performers
for for
eloquently
eloquently ideas
ideasabout theabout
structural substance
theof structural
musical form and languagesubstance of musical form and languag
expressed
expressed antipathy.
antipathy.The
Theenemy
enemy
is is
within
within
thethe
gates,
gates,
and and
has been
has been that
thathave beenhave
devised as interpretative
been devised tools - ideas whichas
may interpretative tools - ideas which may
for
for some
some time,
time,ininthe
theform
formofof
musicologists
musicologists
whowho
make
make
clearclear
dis- dis- themselves
themselveshave evolved duringhave
different evolved
periods of musical histo-
during different periods of musical histo-
tinctions
tinctions in
intheir
theirown
ownminds
mindsbetween
between
good
good
(critical)
(critical)
and and
bad bad
(pseu-
(pseu- ry.ry.
Then there
Then is the cultural
there context, is
and inthe
approaching
cultural
this the context, and in approaching this the
do-scientific)
do-scientific)musicology.
musicology.Since
Since
these
these
scholars
scholars
have
have
had had
plenty
plenty
of of analyst
analystextends the hand
extends
of friendship tothe
musicologists
hand who (with
of friendship to musicologists who (wit
time
time to
to hone
honetheir
theirpolemics,
polemics,there
there
areare
many
many
varied
varied
strands
strands
to this
to this varying
varyingdegrees of enthusiasm)
degrees wear the labels
of ofenthusiasm)
'historian' or wear the labels of 'historian' o
intradisciplinary
intradisciplinaryaggression.
aggression.I will
I will
touch
touch
on on
only
only
one one
strand
strand
here;here; 'critic'.
'critic'.
While techniques
While and topics techniques
relevant to theoretical and and topics relevant to theoretical an
that
that which
whichconcerns
concernsthe
theactivity
activity
of of
music
music
analysis,
analysis,
or music
or music
theory
theory cultural
culturalanalysis probably
analysis
have to be studiedprobably
separately (though thehave to be studied separately (though the
and
and analysis
analysis--the
thealternative
alternative
is is
crucial.
crucial. occurrence
occurrenceof undergraduate of
lecturesundergraduate
on each during the same day lectures on each during the same da
It is
is tempting
temptingfor
fora amusicologist
musicologistcommonly
commonly
identified
identified
as anasana-
an ana- would
wouldsurely not surely
be too harmful), not
professional
be practitioners
too tend harmful), professional practitioners ten
lyst
lyst to
to assert
assertatatthis
thispoint
pointthat
that
there
there
need
need
be no
be confrontation,
no confrontation, increasingly
increasinglyto align, if not to integrate,
to align, these analytical
ifalterna-
not to integrate, these analytical alterna
because there can be no worthwhile debate about whether music tives. In an intellectual climate where theoretical articles have

titles like 'Hierarchical unity, plural unities: toward a reconcilia

analysis is good or bad, useful or pointless, dangerous or delight-
ful. What needs debating is not the question of 'if' (analysis
tion',4 such openness of method and flexibility of approach i
should be permitted), but of 'when' and 'how': that is, if analysis increasingly
is fashionable, and increasingly convincing. Yet I woul
be failing in my responsibilities, as the upholder of a strand of the
not to be wholly suppressed, when is it best introduced into educa-
tional curricula, and what forms should that introduction take? On
formalist tradition within the new pluralism, if I did not observ
that widening the range of musicological interpretation does not o
this occasion, however, I will remain with the primary, if artificial,
question about the nature and value of music analysis in general,
itself ensure that trivialisation and superficiality can be avoided.
At the moment musicology is at a stage of entertaining but
irrespective of the context in which it might be studied and prac-
increasingly stale polemic on these matters. When Lawrenc
tised. Even here, however, an element of context cannot be entire-
ly avoided. Kramer lauds what he terms 'postmodernist strategies of under
It seems increasingly self-evident that the value of musicology is standing', and comments that 'the theories that ground these strate
that it enriches responses to the phenomenon of music: it reminds gies are radically anti-foundationalist, anti-essentialist and anti-
those with the inclination and aptitude to follow musicological totalizing. They emphasise the constructedness, both linguistic and
debates and developments that the minds and personalities of com- ideological, of all human identities and institutions'5 he sustains
posers cannot be separated from the products of those minds and phase of argument that seems more concerned to delay than to pro
personalities. All that this means, in simple terms, is that a compo- mote a positive advance into a mature, pluralistic yet intellectually
sition can never be plausibly interpreted as self-contained, and can and aesthetically coherent critical musicology. Kramer's polemic
never be understood (experienced, enjoyed) 'in its own terms', as proceeds by exaggerating the ogres of foundationalism, essential
the glib phrase has it. The impulse behind the glibness is com- ism, and so on. For my part, I find it hard to identify any musicolo
mendable: we all want to do justice to what is special, original and gist whose ideas are not of some interest when it comes to contextu
particular about a composition. But we are unlikely to get very far alising a composition under scrutiny - especially if that composi
with this project if we make a determined effort to isolate the work, tion is a masterwork. In my judgement, very little gets into print
seal it away in a vacuum so that it remains unsullied by contact that is absolutely bad.
with the very circumstances within which it first saw the light of It will nevertheless always be possible for a musicologist to expe-
day. Music analysis, today, tends to see these circumstances as rience such instinctive revulsion at the sight of (to use a classic
extending in two different directions from the work itself. In one example) Schenker's voice-leading graph of Schumann's 'Aus
direction, there is the theoretical context: that is, those various meinen Trinen spriessen' (Dichterliebe, no.2)6 that he or she wil

Schumann,
Schumann,
"Aus meinen Tranen spriessen" (Dichterliebe,
"Aus
no. 2) meinen Tranen spriessen"
A A A
b)
/IJ3^
4 _-
(I 3 I II
3 2 1

pliT <_2 1) J J

:F- p rn
(n.n.) 1

SCHENKER'S ANALYSIS OF 'AN MEINEN TRANEN SPRIESSEN'. © 1979 LONGMAN AND REPRODUCED BY PERMISSION

June 1993 The Mutsical Times 319

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be
be unable
unabletotoresist
resistmisunderstanding
misunderstandingit as it
anas
'analysis'
an 'analysis'
of the of the songany formal sense'.8 The enjoyment of music certainly does not
song
that
that isiscriminally
criminallynegligent
negligent
in ignoring
in ignoring
Heine's
Heine's
text, rather
text, rather depend on musicology, although the enjoyment of musicology
than than
perceiving
perceivingititasas
anan
illustration
illustration
of aof
particular
a particular
type of
type
tonal tonal struc-surely depends on the enjoyment of music. Moreover, even if we
of struc-
ture,
ture, when
whenthat
thatstructure
structure
is viewed
is viewed
through
through
the lens
theof
lens
Schenker's concede that greater knowledge may not be equated with greater
of Schenker's
theory
theoryof
oftonality.
tonality.There
There
may
may
eveneven
be musicologists
be musicologists
who accept
who accept
pleasure, musicologists might continue to hope that knowledge will
the
the distinction
distinctionjust
just
made,
made,
yetyet
are are
still still
convinced
convinced
that no
that
analysis
no analysis
of of
always seem sufficiently incomplete to enhance their awe in face of
the
the Schumann
Schumanncan
can
afford
afford
to be
to so
beblithely
so blithely
pluralplural
as to embrace
as to embrace
a a
creative genius. In the end, admiration may count for more than
reading
readinglike
likeSchenker's,
Schenker's,
because
because
(they
(they
trulytruly
believe)
believe)
it inhibits
it inhibitsenjoyment, and to say that musicology in general, and music analy-
understanding
understandingbyby
placing
placing
thethe
object
object
of study
of study
in a false
in a context.
false context. sis in particular, are not essential is as good a way as any of affirm-
In
In face
faceof
ofsuch
suchhostility,
hostility,
I could
I could
onlyonly
beg to
begdiffer,
to differ,
while at
while
the at the
ing their value. After all, there is a school of thought - or a school
same
same time
timeaccepting
acceptingthat
that
Schenker
Schenker
created
created
a large
a large
problem
problem of instinct - that feels that art is not essential either.
for hisfor his
successors,
successors,and
andobserving
observing
that
that
those
those
successors
successors
have been
havefar
been
toofar too
reluctant
reluctanttotoundertake
undertakethethe
extensive
extensive
voice-leading
voice-leading
analyses
analyses
of tonalof tonal
masterworks
masterworkswhich
whichwould
would
givegive
sceptics
sceptics
a more
a more
substantial
substantial Notes
body ofbody of
evidence from which to evaluate his ideas. 1. Nicholas Cook. Music, imagination and culture (Oxford, 1990), p.70. 2.
A sense of perspective is vital in all this. Analysis may not be
Jonathan Harvey. 'Sounding out the inner self'. The Musical Times,
vol.133 (December 1992), pp.613-15. 3. Rose Rosengard Subotnik.
as 'necessary' to the continuing life of a composition as its actual
performance: Haydn's 'Representation of chaos' from The cre- Developing variations: style and ideology in western music (Minneapolis,
ation can be satisfyingly 'received' by listeners who are in igno-
1991), p.289. 4. By Richard Cohn and Douglas Dempster, in Disciplining
rance not only of Schenker's graph but of Lawrence Kramer's
music, ed. K.Bergeron and P. Bohlman (Chicago, 1992), pp.156-81. 5.
account of how it 'paraphrases sacred history in the terms of Lawrence Kramer. 'The musicology of the future'. Repercussions, vol.1
objectivist-masculinist epistemology'.7 Nicholas Cook is an elo-
no.1 (1992), pp.5-18. 6. Heinrich Schenker. Free composition (New York,
quent exponent of the consequences of a cultural situation in1979), Fig.22 (b). 7. Lawrence Kramer. 'Haydn's chaos, Schenker's order;
which 'it is one of music's most distinctive and significant charac-
or, Hermeneutics and musical analysis: can they mix?'. 19th-century music,
teristics that it is enjoyed by people who know nothing about it in
vol.16 no.1 (1992), pp.3-17. 8. Cook, op. cit., p.146.

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