6 The Object of Musical Analysis 4 Thre Musi Analyte Ele (Object: Mecalonnage. ant Method 1 ro t1its rou, we have dealt with the musical Fat as a sy bolic fact But we cannot advance farther in the semiologiel approach to muse without bringing the invesigason to bear upon anelyis elt An analy in effet state elf tm the fourm ofa dis hnurse-spoken or written tis consequently the product of a Setionieaves trace ard gives rise o readings, interpretations, and isms. Although we find the wparte dimension of all symbolic forms in anal 38 well, analysis is nonetheless nox merely a semiol ‘ical fit comparable to others discussed 0 fa- Analysts exists be- free i eas with another abject—the musical fat being analyzed, Tn other words, discourse about music i a matalonguage’ Conse {quenly an episemologeal ane! semologcal examination of analysis involves thee elements 1a) The abt The object of a sience x nota immer give ll teserption, ll analysis considers its objec from a certain standpoint. “Characteristic standpoints determine how the objet i astculated by the obuerver, [will al this collection of standpoints the observer “nel sivatim, There ae least thee factors involved in thi tat: the physical dimension of the corpus being studied, the ques tion of syste relevance, and che tipatition. Depending on the sandpoint adopted, a ceriain nuunber of veralies, of pram, wil sme Froth pn ct: Pe sino Seohprdannl katara agra pero ‘ictame the prin ve opt pasa aggro ee Sear opccoegagelat te wetaagenge om A HeChapt Si bu tered ut of the actual substance of the musical object the i UF tis chapter to examive the implications of ths from a semio- logical angle {hy The maalnguage. This eave a wace. What ate the fe of i come used in musieal analyst? The metalanguage has a pots, and Tall examine numberof elements that determine an analysis on oration, The metalanguage i Hull the objec of readings: how is Shalylssructored, what i he influence of analytical discourse on {use ise? Chapter 7 vl take up the semiology of musical analysis per. (The metho of analyst, Analysis sno pure reflection of the objet (mie) ‘There i, inthe analyte process, a transition, con talled by implicit or explick precedes, from the work othe analy ‘Chapter? will abo alle bre to the methodology of analysis, but Gatton 2 will grapple constantly wilh this question, which fa the heat of a semislgieal interrogation of musk ‘One might regroup these three clement of musical analysis asin igure ©. te what follows in Part 1,1 wil elaborate upon certain pects ofthis conception ‘Wy itso important co inwentry all factors shat intervene in an analy? We might consider the reaioas to be bth epistemological nd pedagogical: One cannot help but be struck by the diversity of halfcl sles om the market, particulary in the case of divergent ialyce ofthe same pice. As well dese day ci important shat we ily our students understand the how and why of these different pproaches, and their divergences in dealing with the same objec. “Tis divergence troubling ait ay be forthe novice, should not be thought ofa some wort of instiional scandal sso he net lable eu of the pati nature of masical dena facts; hat i ei Troms the fae that we are presented with a very large latitude nd y Mai cc oa rion 8, hd pl Posed ica proces hey al be dicssed elrebare). A Prenh ache Fare Cale hs yop a saopan prose ni neti aaa cae ate tues sia mew lo se ‘Tose i pn iba ne ce es Camco) pees me een aya Sie net The Obj of Mal Aaa ‘of hie between all possible interprets released by the corpus ring adie Th is why i matters that we thai the aj of an analysis espeslly when we ave reading an alveady existing analysis. What eS e otor want to ell us about? This question if kepe in ming, Sr prevent us from repreaching the author for not Iaving done Nhat he or she did not want to do, could not dois also the cae Nf analyses yet to be writen; we ean thus avi le questions Ghd tisunderstandings, A musicologist always takes stance, hates Him or herself (coraiously oF mot) opposite a corpus in certain sty, in hor her anata! tuato. Inthe remainder ofthis chapter Weal be taking at various aspects ofthis proces of uation 2 Analytical Stations (a) The fet aspet ofan analytical situation i this whats the plait ‘Bueno of the corpus being examined? Are we analyzing an woated pice, or does our work bear pest a group of pieces? The question fray seer academic and fs eldnn been aise se, however, Net MCA: Chaprer 3), In fact his aspect dates the nature of our ane Intal approach, tis ot the same thing, Fr instance to study a work To ts own sake ¢oeeribe the spe instantiate! by the work, oF (0 fStablshsylistic constants within election of works. {ty Tn all these case, the dnl sation chosen determines the level of aii reeunce that preconditions our view ofthe objet. We might represen levels of teevance i the Form of an inverted pyarhap The Ot of Mikal Ass ini AL he ip we have tats unique 1 4 given work (whic can he Avice from other works i the name group, with which the pice {question can be compared), From there, we ace through bore general levels of relevance: the ste eharacevntie of certain per Tor i stance) oF the ste esraterinie of patie instrumental gen by that composer (he se of Beethoven's ate quartets) the totaly of Beetvenian sve; the sgle ofa genre (the roncertante syle) or ‘Fan epoch (Viennese Csi style Farther up, we have the ta fyten for some other system of relecence) which, ay we shall se lever on must als be considered a syle-and finally the universal of ‘music Alanalysis implied or explicitly adopts one ofthese levels of lic relevance; may ever happen thit an sali "nav gates” fom one level to another I believe that a igorons analysis, one con scious of its objectives, must spe exactly the level of site rle- ‘ance om which i lated {c) Besides the physical dimension of the corpus studied and the sivlitietelevance, there i another analyieal station that wall be "hoses again explicly oF implicit) bythe musicals eo she lescribing the work's immanent stucturs, Hs relation to Bistory op to composiona processes ur the way in which ei perceived? I ‘any analyses up the tee poles of the trparition, thee ae on other and many that exploit one of the thtee. Musical semilogy oes aot constitnte a revolution i musical salad the follow tng discus, I all Borow examples of vei manent, and ex thesic analysis fom the cae mustolgicalrepertry. nan article heady ced (Maling 19754: 50-51), Moline ws ae to show thatthe history of enusicalanayss at che beginning of the Ggiteenth century, was diplaced From the poietic vantage point {how does one produce a work?) toward the estesc (how isa work pereevved?). Atention later shifted vo the immanent level, wih Hans Fk taking the aesthetic tack (as we have seen i cechaial analy. This sh to in mowtcase, there i confusion among level sa Foul analy, for instance, she expecta i that the analysis Ail correspond o stateges of production, hough this not gu nice a pion ‘One cay to classify various analyeal standin in terms oF the tsiparttion, ad show that each option (ve poietic, manent oF fates bias), even when it clans to dal wit the "esence”of music, Sil eave as things that dhe ater options consider anally el Chant, borrow my fn, exclusively poietic definition of anal from Joes Chaley, who taught an entite generation of musical gis atthe Sorbonne, sine analysis consis of pttng oneal in the posers shoes’ ad explaining what he was experieneing ashe was vious that we should no think of studying work in Terme f criteria foreign othe author's ow presecupations, no more invonal analyse than m harmonic analysis" (Challey 1951: 104) ‘The {question i, bsiousy, how these compositional preoccupations aight Teenie, 1 scents mal prior so xpi work fom the eo poses pot of view, F (enlarging the perspective) rom the vantage point ofan epoch or eiurew which that work belongs. ‘uc here are oer musicologist who put forth am equally ei sate puint of view: “analytic discussions of music are often con fered with processes that ave not nunediatelypevcevableTemay be that the ase fe concerned merely with applying collection af tiles concerning practic, or wth the description of the composi Toa process. Bt whatever his, he often fils—most notably i tweet eda musical Fence” (Fay 1071" 113) “True anolyss works through and for fir The greatest analysts ate dhse wil the keenest eats thei Ss reve how tee Of mune should be eae wil 5 tare plies how it shouldbe played. An aealss isa direction for pertor Ince” (Cone 1960: 30).Or still again, "HC seems only reasonable 1 Dative thats heathy sali pot ofvew that whieh so ney morphic with the pereepta act” (homson 1970: 186), How ean we deny sc lina Tse oe made to be head? ‘A type of analysis shat could be styled manent di, of course develops it propened to engage the properties of 3 work indepe ‘entloF that work's genes: Boule typi; he wrote concerning senting ii fico spins 6 ww