Ferrara, Chapter 1 "Referential Meaning in Music"

Ferrara, Chapter 1 "Referential Meaning in Music"

Summary

"What does music mean?" implores the author at the onset of the first chapter. Such a broad  yet challenging question is of great interest to musical analysts. There are two approaches, one limits musical understanding to it's syntax, and the other engages referential meaning. 

Leonard B. Meyer's relation of emotion to music syntax is examined, as it creates a "bridge" between emotion and structure. Formalists disregard a work's emotional response to a listener, citing it as irrelevant. They believe that music can create an emotional response, and perhaps extra-musical thoughts, but "extrinsic meanings and emotional responses cannot be systematically and objectively analyzed" (Ferrara, p. 4).

Meyer suggests that emotion is derived from formal musical meaning. He divides meaning into absolute (syntax) and referential. The former being harmony, melody, structure. The latter remains undefined by Meyer. There is further subdivision into absolute meaning: formalism and expressionism. Both are syntactical, but formalists argue meaning is purely intellectual whereas expressionists say syntax arouses emotion. Citing John Dewey's theory of emotion, Meyer states "that musical stimuli arouse and inhibit tendencies..." which "give rise to emotions" (Ferrara, p. 5). A listener has expectations (based on past experiences, musical training), and their ability to be challenged or met, causes them to feel emotion... there is no extrinsic meaning.

What is referential meaning anyhow? Ogden and Richards say a symbol "has meaning when acquaintance with it causes one... to think of something else" (Ferrara, p. 7). A symbol refers to something else, something from the natural word. A methaphor used for the difference between syntax and reference of music is found in language. Syntax refers to grammar, where the word "automobile" has 4 syllables and is a noun. On a referential level, the word "automobile" refers to an individual's concept of a car. Symbols "capture and convey" the concept to which they represent, as much as music expresses the emotion and feeling of the composer.

Since music analysts have not systemized an objective study of reference in music, saying it could lead to an "analytical chaos", it has been deemed "non-rational". Ferrara counters by suggesting conventional systems of musical analysis don't satisfy the logical positivist's criteria for objectivity and verifiability.

Susanne Langer wrote about philosophical approaches to referential music analysis. Music isn't a precise meaning of things, but an expressive form. It is a non-discursive language that does not translate directly to a discursive language, and can no be looked at as such, or referential meaning will never be understood. Langer argues formal properties only reflect a composer's knowledge of form and theory. To her, music is "expressive of man's unique being" and elevates us, as humans, above other animals. Langer never adapted her theories to music directly, but influenced many subsequent theorists.

Further in the chapter, Ferrara examines recent approaches to referential meaning in music. Of most study is Peter Kivy who distincts the usage of musical expression. Something can "express" or be "expressive of". In Kivy's words, a piece of music is not sad, it is expressive of sadness. A person crying, on the other hand, expresses his or her sadness. Theodor Adorno alternatively writes on the parallel of social structure to musical structure, saying "[i]n various ways and with varying [degrees] of critical awareness, the musical microcosm replicates the social macrocosm." (Ferrara, p. 22)

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Reaction

Meyer's concept of emotion coming from musical expectation seems ignorant. Surely an avid music listener knows better. This naivety may stem for the objectification of music as an object, not as an source of enjoyment. It can be all too easy to get lost in the meaning and feeling of something when you examine a work's metaphysical aspects, which I think this course overall attempts to rectify. Whatever the reason, I tend to reject Meyer's theory of expressionist formalism. Music, as it seems to me, does in fact work on an extrinsic level. Being said, I find Langer's research very interesting... although I wish she had the chops for musical analysis. Her insight was profound, particularly when she talks about music's ability to express man's being and be transcendental. Music, as well as language, is a symbol. And she rightfully points out that you can't think of music in such cut and dry, convential (discursive) methods. Music is a different entity, and the way you analyze and think of music must be adjusted. Duh!

Ferrara, "Introduction"

Ian McNally

Music Technology

Spring 2009

The Performing Arts in Western Civilization - E85.1505

Ferrara, "Introduction"

Summary

Philosophy and the Analysis of Music by Lawrence Ferrara begins with an introduction to the psychological context of the book. Ferrara defines music, which he states, depends on the individual who is experiencing it (as a music listener, music happens), or the degree of examination (simply as a category, or more articulately as 'a synthesis of passion and rationality, emotion and understanding'). The author quickly moves to the dialectic, the foundation of his inquiry- referential meaning of a work versus a formal analysis. They both exist and are important in a work, but current methods of analysis treat them in a parallel fashion, like vinegar and water... neither approach can explain the other and one is ignored in favor of the other. Ferrara says that this separation cannot lead to a whole, absolute understanding of the work. Formal and referential analysis depend on each other, and are insufficient on their own. In his words, "[e]ach approach tends to focus on a singular dimension... at the expense of another..."

The book divides analytical methods into three classifications:

1. Phenomenological methods (sound-in-time)

2. Conventional methods (formal analysis)

3. Hermeneutic methods (musical reference)

The combination of the three above creates the eclectic method, a new methodology that rectifies the shortcomings of each approach on it's own, but pieces them all together to create an exhaustive and encompassing analysis of a musical work. The eclectic method provides a systematic approach to understanding and incorporates all facets of analysis, so that it may be applied to any piece of musical work, and be as objective as possible.

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Personal Reaction

Ferrara's introduction was a necessary, and heavy one. My brain hurt a little bit after reading the introduction- the sentences are dense, and the topics are broad and numerous, but it was a necessary evil. The electic method is explained thoroughly and justified. The author does a good job dispelling arguments and objections to his method by offering multiple avenues of musical exploration, from the most cut and dry, to the most lofty. He also raises an interesting point about the nature of music- that it depends on who is experiencing the music (e.g., music "happens" for a music listener), or how fine you are looking into it (as just a category, or as a synthesis, an expression, etc.). The introduction drew me into the subject matter, if even at times, the density or vocabulary propelled me away from the reading.