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- W2078148654 abstract "As Julian Horton's provocative discussion of the tension between modern methodologies of interpretatio n and the traditional claims of analysis suggests, writing about music is a frustrating enterprise. To a great extent, the difficulty arises from the performative nature of music as well as from the inherent ambiguity of music's meaning. The subject is elusive. Music is diachronic for the listener, the reader, and the performer. The accumulated experience of an event counts, as does each unit of experience in a sequential unfolding as each occurs. So too does the expectation, the imagined work. The interaction, in anticipation, encounter, and recollection, of psychological dimensions with acoustic variables alters the stability of the objects of interpretatio n and analysis. Roger Sessions was reputed to have remarked that the best performance of the Ninth Symphony of Beethoven, the only one he considered adequate, was the one he heard in his head while reading the score. What was he referring to and what was he hearing? Did what he heard remain the same, even to him, when he repeated the experience? Even in the act of recollection by an individual, there is a nasty instability to the subject. When one looks at the printed or manuscript page, is there an ideal or even minimum adequate sounding equivalent on which we all might agree? Does one construct an ideal mental image which is then imagined as heard as one reads, or does one piece together sonic fragments and even memories of actual hearings that become adapted into coherent anticipations of a future real or potential event? Is one's imagination predictive or even sufficient in terms of what notation implies? Given the multiplicity of synchronic events, on what basis does one assign priority in the mental construct of sound? A written text in a novel may be complex, but overtly only one word sounds or follows at a time. Which event and what sound or even manner of violin or piano playing is implied or foregrounded by either the whole text of a Beethoven sonata or any specific moment? How might we, using language, reconcile several readers' accounts of their contradictory anticipations of sound? An oft-repeated question of conductors is: what do they hear when" @default.
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- W2078148654 date "2001-01-01" @default.
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- W2078148654 title "Analysis and Criticism" @default.
- W2078148654 doi "https://doi.org/10.1093/musqtl/85.2.225" @default.
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