Love and Death in Classical Music‐Methodological Problems in Analyzing Human Meaning in Music
Identifieur interne : 001299 ( Main/Exploration ); précédent : 001298; suivant : 001300Love and Death in Classical Music‐Methodological Problems in Analyzing Human Meaning in Music
Auteurs : Catherine T. Harris ; Clemens SandreskySource :
- Symbolic Interaction [ 0195-6086 ] ; 1985-09.
English descriptors
- Teeft :
- Alfred schutz, Chant, Chicago press, Classical music, Collective action, Collective feelings, Collective ideas, Collective meanings, Continentalist approach, David epstein, Emotional expression, Empirical study, External world, Full closure, Funeral march, George herbert mead, Gregorian, Gregorian chant, Grove dictionary, Heinrich, Heinrich schenker, Hermeneutic philosophy, Interdisciplinary methodology, Jackendoff, Janet wolff, Knowledge context, Langer, Larger units, Leonard meyer, Mead, Methodological, Methodological issues, Methodological problems, Methodology, Mighty fortress, Music theory, Musical language, Musical structure, Musical syntax, Musicology, Objectivity, Oswald jonas, Partial closure, Perfect cadence, Pitch relationships, Popular music, Religious expression, Routledge kegan paul, Same time, Schenker, Social feeling, Social function, Social history, Social meanings, Social relations, Social structure, Sociological investigation, Sociologist, Strong pulse, Structural laws, Structural line, Subjective reality, Subotnik, Susanne langer, Symbol formation, Symbolic forms, Symbolic interaction, Symbolic interactionists, Symbolic nature, Tonal music.
Abstract
It has been clear since the work of Weber that the relationship between social structure and musical syntax is an important potential area of sociological investigation. Little work has been done in this area, however, probably because of methodological problems. Discussions of methodological problems in analyzing meanings in music converge in music theory and sociology on the issue of objectivity. Recent comparisons of musical syntax with language and the work of Heinrich Schenker in music theory provide the basis for an interdisciplinary methodology for analyzing typified collective meanings communicated through musical syntax. It is suggested that, on the basis of this methodology, these collective meanings could be analyzed “objectively.” Two examples of this approach are provided through typified collective musical expressions of love and death.
Url:
DOI: 10.1525/si.1985.8.2.291
Affiliations:
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