Every viewing of the movie brings a new facet of phenomenon to it. As if studying the skies and discovering a new star. Just as Thom de Plume had noted that "authentic swing" scene had 63 shots, it is only natural that the mind now begins to adapt to it's initial phenomenological experience and discover the formal syntax of the film. Such as all the filming cues, directorial decisions and actors active participation in performance. Yet, the remarkable synthesis of phenomenology and firmer grasp of the formal analysis is what has given me a more profound phenomenological experience. I believe this happens cyclically with more understanding of the film. Rather, it may be more due to the mind forgetting itself and just living at the moment.
posted by EdgarNYU at 4:39 AM
3 Comments:
Stuck at work.
Does form grow out of the phenomenological elements?
The chapter reminds this reader of several approaches to musical analysis that have been discussed in previous chapters and that some issues will be "brought to closure in the form of Methodological presciptions in the electic method" Ferrara P.179.
The "point" of the electic method would be made by recognizing its responsiveness to the many levels of musical significance. An essential component is that the listener must remain "open" to any level of musical significance.
An aim of inevitable duality ensues. The listener must attempt to free themselves of prejudgements and simultaneously remain open. That is to remain open to what a musical work might mean while recognizing what it can mean. Due to the nature that this may not be entirely possible, prejudgements must be subject to change. Questions regarding the work must have direction whether directed to sound, form or reference. In addition, the eclectic method, if utilizing one or all the aforementioned types of analysis, must be able to shift focus and allow the analyst room from choosing its aim. This is the duality continued. The analyst must have the latitude to be able to answer direct questions of the work to questions that may come up because of the work.
The three broad approaches to muscial analysis, phenomenological, conventional,and hermeneutic, are to be given their respective due. The roles and logic of each type of analysis will remain intact and not to conciously influence the other. Although, to remain "open" for the eclectic method, the trouble is to be open to any level of musical significance while respecting the autonomy of the individual systems.
An analyst reporting musical significance will always be limited to the scope and details permitted by his methods. This is the short way of saying that in the electic method, one does not questions their methods or presuppositions of their approach. The meta-critique solve this problem. In this aspect, the analyst evaluates their strenths and weaknesses and the impact of the method on the analysis. This is what leaves further room for growth.
The eclectic method is broken down into ten steps. They are as follow's: 1) Historical Background, 2) Open Listenings, 3) Syntax, 4) The sound in time, 5) Musical and Textual Representation, 6) Virtual feeling, 7) Onto-historical world, 8) Open listenings, 9) Performance Guide, 10) Meta-critique.
Step one is to place the work within a historical framework. Step two is to orient and maybe report the sound, structure and /or message of work. Step three is to pay attention to and collect data of the work's musical syntax. Step four is the phenomenological description of the sound in time. Step five is the first of three levels of referential meanings. This level is musical representation. Step six reports the manner in which the work is expressive of human feelings (virtual). Step seven is second level of referential meaning. This is the use of hermaneutic analysis for referencing the onto-historical world of the composer. Step eight is to return to the open listening process. Step nine is the performance guide presented. Step ten is the required metacritique of the entire analysis.
An eclectic method, I thought, was something that we as listeners/analysts, perform inherently. Reading the Ferrara literature in chapter 7 was a cerebral catharsis to the conflict I felt being limited in my ability to explain the sublime dialectic that I was missing but found on those pages. I feel more confident regarding my future analysis because I will have gained an intellectual conduit for evaluating music, musicing and music symbol.
I indeed have "come home with a renewed sense of curiousity and interest." Ferrara "Phenomenology as a Tool" pg358
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