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Adam Krims (ed.), Music/Ideology: Resisting the Aesthetic

Adam Krims (ed.), Music/Ideology: Resisting the Aesthetic ß Blackwell Publishers Ltd. 2001. Published by Blackwell Publishers, 108 Cowley Road, Oxford OX4 1JF, UK CRITICAL FORUM analysis, and Street himself illustrates his arguments with an examination of two profoundly analytical articles by Jonathan Dunsby and Arnold Whittall. The linking of theory with analysis is a modern thing; it starts, perhaps, with early modern writers like Riepel, Vogler, Galeazzi and especially A. B. Marx. Before that, the most influential theorists ± Aristoxenus, Boethius, Zarlino, Mattheson ± were not analysts in the modern sense at all. The current volume ends with a review of its whole contents, written by Henry Klumpenhouwer. He demonstrates that the old musicologists ± very old, the transcendentalist Romantics ± distrusted analysis because it failed to engage with music's power to move and delight. The new people ± those who have read Roland Barthes, for example ± distrust analysis because it offers a refuge from the body, a flight from jouissance into cerebration. But surely the main issue is that the best analysis ± the motivated close reading ± is always an instantiation of theory; in other words, theory is prior to analysis. Maybe theory does not need analysis. Undoubtedly, the mania for analysis http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

Adam Krims (ed.), Music/Ideology: Resisting the Aesthetic

Music Analysis , Volume 20 (3) – Oct 1, 2001

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Publisher
Wiley
Copyright
Copyright © 2001 Wiley Subscription Services, Inc., A Wiley Company
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/1468-2249.00145
Publisher site
See Article on Publisher Site

Abstract

ß Blackwell Publishers Ltd. 2001. Published by Blackwell Publishers, 108 Cowley Road, Oxford OX4 1JF, UK CRITICAL FORUM analysis, and Street himself illustrates his arguments with an examination of two profoundly analytical articles by Jonathan Dunsby and Arnold Whittall. The linking of theory with analysis is a modern thing; it starts, perhaps, with early modern writers like Riepel, Vogler, Galeazzi and especially A. B. Marx. Before that, the most influential theorists ± Aristoxenus, Boethius, Zarlino, Mattheson ± were not analysts in the modern sense at all. The current volume ends with a review of its whole contents, written by Henry Klumpenhouwer. He demonstrates that the old musicologists ± very old, the transcendentalist Romantics ± distrusted analysis because it failed to engage with music's power to move and delight. The new people ± those who have read Roland Barthes, for example ± distrust analysis because it offers a refuge from the body, a flight from jouissance into cerebration. But surely the main issue is that the best analysis ± the motivated close reading ± is always an instantiation of theory; in other words, theory is prior to analysis. Maybe theory does not need analysis. Undoubtedly, the mania for analysis

Journal

Music AnalysisWiley

Published: Oct 1, 2001

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