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K. Korsyn (1991)
Towards a New Poetics of Musical InfluenceMusic Analysis, 10
J. Kerman (1980)
How We Got into Analysis, and How to Get outCritical Inquiry, 7
M. Foucault (1970)
The archaeology of knowledgeSocial Science Information, 9
M. Bakhtin, M. Holquist, Caryl Emerson, V. McGee (1988)
Speech genres and other late essays
T. Eagleton (1991)
The ideology of the aesthetic
A. Isenberg, M. Abrams (1954)
The mirror and the lamp: romantic theory and the critical tradition
MUSICAL ANALYSIS? THE CONCEPT OF UNITY I In `The Concept of Unity and Musical Analysis', Robert Morgan examines doctrines expressed by five writers on music: Kofi Agawu, Daniel Chua, Joseph Dubiel, Jonathan Kramer and me. We all stand accused of the same heresy, a lapse in analytical orthodoxy that he calls `anti-unitarianism' (p. 8). Since this `opposition to unity' is no transient temptation, `but a major development associated with a distinguished group of scholars' (p. 8), it must be refuted before it leads others into error. Morgan fears that the `unitydenying disposition' (p. 7) will undermine basic tenets of the analyst's faith, because it originates in `a comprehensive recent epistemological transformation that has influenced attitudes about truth and knowledge' (p. 22). By embracing a postmodernist notion that `all language is necessarily metaphorical', antiunitarianism `eliminates the possibility of an objective account of music' (p. 22) and even destroys our belief that music makes sense: `analysis is based on the assumption that music ``makes sense'' without which it makes no sense itself as a discipline' (p. 27). Ultimately this retreat from making sense will cause the analytical enterprise to sink into a kind of mute self-abnegation: The mere claim that
Music Analysis – Wiley
Published: Jul 1, 2004
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