Music with music theory, critical theory, music history and the cognitive sciences.įounded in 1982, Music Analysis publishes major orientation articlesīy respected scholars such as Allen Forte, Jean-Jacques Nattiez, Arnold Whittall,Īlan Street, Kevin Korsyn and Jonathan Dunsby. Take forward debates concerning the relationship of technical commentary on This kind and through its lively Critical Forum, it also aims to Of new writing focused on musical works and repertoires. Music Analysis is the international forum for the presentation Finally, the pluralistic perspective arising from juxtaposing and accepting so many strongly contrasting interpretations calls into question the notion of a unitary music object, raising issues which may have implications for music analysis and beyond. Various performing traditions emerge from the data, including a onemovement, a two-movement and a ' recailltulatory' approach, as well as a Russian national style, some teacher-puilll influences and some likely correlations with published writings and broader aesthetic movements, suggesting that both structural and cultural questions can productively be addressed by siting performances within the web of discourse.
But do even simple analytical decisions such as these have any impact upon those performing or listening to the work? The use of emillrical methods to measure tempo choices in 43 different recordings of this illece reveals that performers do indeed participate in structural debates, affirming a model which places their contributions on an equal level with those from analytical writings and which shows the reciprocity between these modes of activity. The ambiguity over the number and structure of movements in Sibelius's Fifth Symphony provoked vigorous and far-reaching discussion in British analytical writings from the 1930s onwards.
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