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Alain Frogley, Vaughan Williams's Ninth Symphony

Alain Frogley, Vaughan Williams's Ninth Symphony Perhaps disappointingly then, having raised the possibility of this more radical approach, the author fails to pursue the consequences of his own question. He gives no concrete example of the `shared concerns' of new musicology and sketch studies. Thus it remains an open question whether the pluralities to which he alludes in the study of compositional process anticipat or parallel recent theoretical thinking (for example, Alan Street's critique of unity, Kevin Korsyn's study of ideology in writing on Brahms, and Craig Ayrey's discussion of deconstruction in relation to Chopin analysis).1 Rather than tackling the challenges that `radical approaches' provide for sketch studies within an interdisciplinary context, Frogley reverts instead to a conservative perspective on sketch studies and analysis: individually either approach easily lapses into arid data-gathering, but brought into dialogue ± analysis restoring the `music itself' to source study, manuscripts injecting history and human agency back into hermetic theory ± they can create a powerful site for ... humanistic, interpretative criticism. (p. 2) Fusion of these three approaches (sketch study, analysis and criticism) prepares the ground for the hermeneutic dimension revealed in the penultimate chapter. Yet Frogley's critical judgement on the symphony as a whole is also problematic. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

Alain Frogley, Vaughan Williams's Ninth Symphony

Manning, David
Music Analysis , Volume 24 (3) – Oct 1, 2005
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Publisher
Wiley
Copyright
Copyright © 2005 Wiley Subscription Services, Inc., A Wiley Company
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/j.1468-2249.2006.00228.x
Publisher site
See Article on Publisher Site

Abstract

Perhaps disappointingly then, having raised the possibility of this more radical approach, the author fails to pursue the consequences of his own question. He gives no concrete example of the `shared concerns' of new musicology and sketch studies. Thus it remains an open question whether the pluralities to which he alludes in the study of compositional process anticipat or parallel recent theoretical thinking (for example, Alan Street's critique of unity, Kevin Korsyn's study of ideology in writing on Brahms, and Craig Ayrey's discussion of deconstruction in relation to Chopin analysis).1 Rather than tackling the challenges that `radical approaches' provide for sketch studies within an interdisciplinary context, Frogley reverts instead to a conservative perspective on sketch studies and analysis: individually either approach easily lapses into arid data-gathering, but brought into dialogue ± analysis restoring the `music itself' to source study, manuscripts injecting history and human agency back into hermetic theory ± they can create a powerful site for ... humanistic, interpretative criticism. (p. 2) Fusion of these three approaches (sketch study, analysis and criticism) prepares the ground for the hermeneutic dimension revealed in the penultimate chapter. Yet Frogley's critical judgement on the symphony as a whole is also problematic.

Journal

Music Analysis – Wiley

Published: Oct 1, 2005

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