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.