Phenomenology As a Tool for Musical Analysis/Edgard Varese

Poem Electronique by Edgar Varese and Le Corbusier 1958

In the article, "Phenomenology as a Tool for Musical Analysis," Lawerence Ferrara breaks down the phenomenological analysis process. He begins the article by discussing "objectivity" and the separation between subject and object. Ferrara writes, "That knowledge is objective is of course a myth, whether it refers to music, the other arts, or the sciences (152)." He examines this ideology further by introducing the physical chemist and philosopher, Michael Polanyi, who believes that a scientist's personal involvement in knowledge is indispensable.

The Importance of Hearing:
Ferrera writes, "Phenomenologists presume that what one hears is affected by how one hears (153)". He strengthens this idea by introducing the "mode of orientation," which is a tactic that responds to questions "posed" by the work instead of manipulating meaning and imposing personal bias to the it's meaning.

Dr. Ferrara also explains that many phenomenologists can accept that there is syntactical and referential meanings in an artwork that must be addressed, while other phenomenologists have argued that there are "ontological" meanings in some works that, "present a historically based "world" of the composer (153)."

PHENOMENOLOGICAL ANALYSIS IS GROUNDED IN REVERANCE TO THE HUMAN ELEMENT IN MUSIC Pg.153


An interesting point that Dr. Ferrara extends is that it is not definite that we can fully decipher a composer's intention as if to say intention doesn't matter, but more importantly it is possible to understand a work within the context of the composer's (ontological) world. He strengthens the "mode of orientation" by discussing symbols, the symbols as a code to understanding the composer's language; "we are metaphorically transported into the world of the composer as we attend to the work (153)."

"The great composer injects, through his manipulation of sound, the factical day-to-day world in which he exists in a new form. In remaining open to that world, the analyst does not respond to it purely and objectively but within the boundaries and limitations of his own world and culture (358)". But Dr. Ferrara goes further to say that the analyst does not respond with a dependency on the composer's world and culture but also with in the "boundaries and limitations" of his own world and tools.

The Procedure
Dr. Ferrara introduces the piece under examination (Poem Electronique) and breaks down the process of understanding the piece under a phenomenological lense.

Ferrara reacquaints the reader with the reasoning behind "open" listenings, that their purpose is to "orient" the analyst with the work so that the analyst can be as responsive as possible. The next stage for the analyst is to listen for "syntactical" meanings. One is supposed to "bracket" out formal and referential training at this point and time to allow focus on syntactical sounds. First one attempts to leave behind formal elements of training and to hear sounds as sounds as they appear, for example "word sounds." The next step within the level of syntax is to examine formal structures of the piece that support the phenomenological analysis of syntax. The next step in this procedure is to attend to semantical meanings. Ferrara supports this by adding, "Many of the important dimensions of meaning in music lie outside of the context of musical syntax (155)." The same level of attention is applied to listening for ontological meanings in the world of the composer. Finally there is a final "open" listening where the syntactical, semantic, and ontological levels of meaning may "stand out in a conceptual, contrapuntal design of meaning-dimensions (155)."

One of the most profound ideas in this process is that "In the relationship of syntax and ontological world, each carries itself further than either alone would have been able to go (155)." I like the idea that form and world need each other to create the whole meaning of a work.

---
Ferrara upon describing the analytical process invites the reader into his reflections of the open listenings process of Poem Electronique, by Edgar Varese.


REACTION: OMG I LOVE BARRY MANILOW


I really feel that this article described the analytical process in a very concise and relatable manner. I feel like I can use this as a guide to further my analytical endeavors. I really enjoyed how visual Dr. Ferrara was during his "open" listenings and shared it with the reader. Also I thought that Poem Electronique was a great example of how to analyze an experimental music concrete piece while showing us how to employ our formal training to uncover the syntactical elements. I felt in a whole Dr. Ferrara's article put it all together for me.

VI. Aesthetic Perception Seeing As/The Unforgiving George Dickie

"How to Draw a Bunny," a documentary on the work and death of Ray Johnson.

In Chapter 6, George Dickie critiques the aesthetic-attitude theory of Virgil Aldrich. In the opening he discusses why he chose Aldrich's theory: It's the most recent version, it's related to Wittgenstein's philosophy, and most importantly, "...it is more concerned with the notion of aesthetic object as the proper object of appreciation and criticism than earlier attitude theories are" (136). Aldrich begs the question of which forms of art are "proper parts" of an aesthetic object. By doing so, Dickie maintains that Aldrich must state which aspects of a work of art or "nature" are aesthetic and which are not.

With us today is Mr. George Dickie.

When the work of art is looked at in a certain way, one becomes aware of the aspects that dawn in the aesthetic space of composition. These are proper parts of the work of art as an aesthetic object, and blindness to these is the sort of aspect-blindness that disqualifies one both for aesthetic perception and the assessment of the merits of the work as an aesthetic object in that view of it (137). -Virgil Aldrich

A very interesting point that Aldrich makes is that "aesthetic characteristics are objectively there to be experienced, one just has to look at them in a certain way (137)". But he didn't come up with this theory on his own, apparently his theory on aesthetic perspective was "suggested" to him by E. H. Gombrich and Wittgenstein. To further explain the changing aspects of ambiguous objects, Dickie uses an analogy of the "duck-rabbit drawing." The figure is composed of a square within a square which could be, a square suspended in a frame, a lampshade seen from above or below, looking into a tunnel, and an aerial view of a truncated pyramid (183). The figure can be a representation of the way in which one is seeing it. Or in the words of Aldrich, "... what is seen (the representation) is conditioned by what one has in mind, but that what is seen... (137).


Reaction:

Chapter VII: An Eclectic Method for Sound, Form, and Reference... Baby Steps...

Chapter Seven opens with an "insistence" to openness and requests that prejudgment be suspended in order to be open to an artwork's meaning. Ferrara writes, "The method must support moving back and forth from an orientation that permits direct questions to be asked of the work to one that allows the analyst to respond to questions posed by the work(179)." This grants the opportunity for the artwork to change perspective and to give back to the analyst.


The Eclectic Method:


Step 1: In this step we study the piece as a historical context, a music history as well as the artist's "ouevre"
This step is composed of discovering certain historical facts about the composer, the style characteristics of the period in music, and how the composer is considered significant. One is also encouraged to look at the "prominent" styles of art forms in that same period as well and also to consider the "socio-political" climate in which the composer wrote their pieces.

Step 2: Is Optional and an opportunity for "open-listenings."
Here, the analyst is oriented to the sound, structure, and intention of the composition. "He remains open to the work and may report insights into sound, syntax or reference (181)." During this step, one should not compare the work to other works and should only focus on the work under study. The main intention of step two is to bring an "orientation to openness" to the process of analysis.

Step 3: It's time to attend to Syntax. Conventional methods for analyzing music are employed and presented in a "Conventional" Manner. Also, observations from Step Two can be further analyzed to assist in the complete syntactical analysis.

Step 4: Phenomenological/sound-in-time is performed. In this step, their is a shift from Roman Numerals to literal narrative and sign language. Steps two and three are "suspended," and "...the nature of the analyst's language to a more poetic style when appropriate (182)."

Step 5: First level of referential meanings (there will be a total of three). This is the level where music is represented. During this step, the analyst implements a proper critical method for analyzing text.

Step 6: The listener or analyst considers the method in which the work conveys human feeling. In this step, "feeling itself is abstracted, that is, transformed from an actual into a "virtual" form called the musical symbol (183)." Ferrara notes that any inclination to dominate the music must be repressed so that the piece isn't taken for granted as a mere emotional release. Detachment to the emotions expressed is important in this step.

Step 7: The analyst is directed to another dimension of referential meaning, the onto-historical world of the composer (184)." Perhaps the third dimension of referential meaning?

The Animation Show, "Intermission in the Third Dimension," By Don Hertzfeldt

Now Back to Step 7: Hermeneutic analysis is performed. If the analyst is interested in Heidegger's definition of art, then they should explore the onto-historical world of the composer.

Step Eight: A Return to "open-listening." At this stage of analysis, the levels of musical significance interact in a "dynamic and polyphonic tapestry" (184). The historical, syntax, sound-in-time, representation, virtual feeling, and onto-historical world, maintain a level of autonomy but in step eight are "reunited" in an experience of multidimensional possibility.

Step Nine: Performance Time. A Performance guide is created for an overall understanding of the composition under study. My favorite point of this chapter bats for the rookie. Ferrara writes, "The listener/analyst does not have to be an accomplished performer to construct a performance guide (186)." Insight is brought to fruition as analyzing the performance can further ground analysis. The listener/analyst can make suggestions to improving technique and other approaches to the piece... creating a collaborative opportunity between the analyst and composer.

Step Ten: Meta-critique. This final step is a discussion of the strengths and weaknesses of the eclectic method on the outcome of analysis. This is an examination of one's own strengths and weaknesses in coming to a sound eclectic theory about a work. Step ten allows room for the listener/analyst's growth.

REACTION: Never Underestimate the Power of Fleetwood Mac to Change your mind.



When I was a senior in high school, but technically a junior, our theme song was Fleetwood Mac's "Don't Stop," and they played it at every pep rally and even at graduation. I hated this song almost as much as I hated high school. But here I am, six years later, just about to graduate college, when one day I just started humming this song out of the blue. It took us a whole afternoon to figure out what the song was called, we even phoned our parents. So yes, I am a converted fan of the legendary Fleetwood Mac and I don't mind admitting it. I think this loosely ties into the idea of openness and the ability for a work to change you... or did I grow up and this band finally appeals to me?

A Little Nostalgia Just for Me:

V. "Art is the Creative Preserving of the Happening of Truth of Historical Being in the art work.

Heidegger's "turn" after Being and Time

Dr. Ferrara begins this passage by expanding on Heidegger's "turn" after Being and Time.

What is compelling to me is Dr. Ferrara's idea that, "art is present in the art work and guides the artist." (126) Dr. Ferrara describes artwork as a "thing" that when a work hangs in a museum, or a piece of music is hear amongst other things, in the background and atmospheric... it has a "thingly" character. Dasein which we learned in earlier chapters is being, goes further, stating that being "authentic" is "being-toward-death" (123). That being towards Being is an authentic place.

Heidegger claims that one can not push for Being to happen and that by the process of "meditative thinking" will be open enough for Being to happen.

On the Origin of the Work of Art:

"An artist is defined as an artist by the fact that he makes art; making art makes him what he is. The work is the source of the origin of the artist" (125). Furthermore, Heidegger's look at the being of a work's materials brings us to an analysis of terms. The earth as a part of the world and the work materials as apart of the work.

Earth and World:
The world, according to Heidegger, is the "existential" frame of reference of the living subject. This is where human experience and significance happens. It happens because of the world. He maintains, "World is the ever-nonobjective to which we are subject as long as the paths of birth and death, blessing and curse keep us transported into Being." (132). The world is dynamic, it is happening, and the earth is its materials.

Work and Strife:

According to Heidegger, truth in art is a result of strife which is developed from rift-design. In this case, the earth is the work materials, rift-design is syntax, and the world is reference.

Heidegger claims that, "Just as a work cannot be without being created but is essentially in need of creators, so what is created cannot itself come into being without those who preserve it." (138) Ferrara confirms that in order for art to happen it must have an audience to appreciate it.

Art allows for the "creater" and "preserver" to exist within their roles, allowing for truth to reveal itself. These roles which naturally belong together in order for art work to arrive to truth.

Art as Poetry:

Heidegger believes that poetry, a language form, provides the foundation for truth to come into being. Dr. Ferrara supports his claim, declaring that, "Language allows Dasein to come into openness, i.e., to experience its being-in-the-world." This a very compelling argument to me: That art is the "poetic," drawing from where Dasein discovered its "throwness" as being. (140).

My Reaction:

Chapter IV. "There's Only The Blanket"

Martin Heidegger (1889-1976) develops Husserl's foundations but moves away from The Transcendental Ego .

Martin Heidegger believes "that phenomenological description is never pure but is always based on interpretation" (89). He further explains that "interpretation" is done by those who are present in their "research" and have not "disappeared as cultural beings".

Heidegger believes that "understanding is framed by one's cultural and intellectual tradition" (89). Which I think is an interesting idea and relief that cultural prejudice is an acceptable form of understanding. However, Ferrara writes that this cultural bias makes it impossible for "pure" understanding.

Being and Time
Dr. Ferrara writes that that "standing outside oneself" is the key to being loser to being. Dasein is, "provided to characterize man's existence and to acknowledge that he alone is the being that can pose the question of Being." Within this idea is he defines phenomenology as a "tool" to defining Dasein; this shifts phenomenology in a different direction than Husserl.

Allegory of the Cave, Plato
This metaphor portrays mankind as in a cave of ignorance and outside the cave is the light and the chance to understand. But their backs are on the cave opening but man is forever in a state of "childhood" can only see forwardness, the darkness.


Phainomenon means, "to show itself."
Returning to Dasein: "must allow the thing the "freedom" to show itself, that the "essence" of truth is freedom.



My Reaction:
Keanu Reeves as mentor:

Chapter III: "Hurrah For Science!"

Edmond Husserl (1859- 1938) was a major player in phenomenology.



Husserl's early period (1896-1905):
Edmond Husserl maintained that psychology held priority over all science, that it was the foundation of all study.
This imbalance lead him "back to the things themselves," wanting to leave psychologism behind as well as other
philosophical prejudices. By taking this step, one could build a "pure empiricism based on the immediate perception
of things " (51). Thusly, he wanted to compliment natural science with something new.

Husserl believed that consciousness is an activity between a subject actively projecting itself to the "non-self."
The non-self exists outside the body. The meaning of something is relative to the consciousness that engages it.
Noema: Objects become noema when they are being intended by consciousness.

Husserl contends that consciousness is constructed through time... "Time-Consciousness" is an idea that a piece of art is the same over time even though we engage them over and over again. He then develops the idea of "retention" and "protention" (61).

"Retention"-- Consciousness "retains" the immediate past of the object in consciousness.
"Protention" -- "Protentions are continuously being consummated in consciousness that are in agreement with past "retentions" (61).

Husserl enters into a logical Investigation, "Back to the Objects themselves" where the suspension of beliefs in theories, concepts, and symbols, is employed in order to understand what is directly given.

Phenomenological Reduction:

Transcendental Ego:To move beyond one's ego and develop "pure" knowledge.

Epoche: The suspension of the natural attitude. During this step, the analyst attempts to bracket out all previous assumptions or prejudices connected to the work.

Eidetic: An attempt by the analyst to characteristics of the work. This type of engagement will never be
referential or formal in nature.

Husserl attempts to develop a pure empiricism based on the immediate perception of things.

The Return to Psychologism:
More than a decade later, Husserl moves from "The things themselves" and inward towards consciousness. Ironically, he return to the same form of psychologism which he was trying to break free.

My Reaction:



Sometimes I feel that Dr. Ferrara could be explain these ideas more concisely and at times I get confused because I feel that the concepts are conveyed in a circular fashion that is very confusing to interpret. I'm still questioning Husserl's believe of time-consciousness. I don't necessarily believe that an artwork is the same over time, for me the meaning changes relative to how I've changed. For instance, I grew up watching sitcoms with my parents, sitcoms like Seinfeld that explain adult concepts that went quite over my adolescent height. As I grow older those concepts become more and more relative and humorous.

"BEG WAVES" BY PONYTAIL / I only Have a Page and a Half.

"Primal spaz-rockers Ponytail raid a Queens laundromat in the latest edition of Pitchfork TV's analog-meets-Internet show, A>D>D. Armed with a rudimentary four-track recorder, the quartet scares off the clientele and gives new meaning to the term "spin cycle." Courtesy of Pitchfork.tv

Please Double Click to Read Bio: www.jeremyhyman.com

Historical Side Of Things: I wanted to post Ponytail's bio because I couldn't think of a better way to tell you how they formed. What I can talk about is their contribution to art rock and DIY movements. We live in a Clear Channel/Live Nation monopoly. Some, the product of middle class families who couldn't quite afford to send us away to college and a lot of us battling homogeneity. DIY (Do It Yourself) is working with what you have... doing it on your own, legally or not... risking a police raid for the sake of a low budget rock show in an abandoned warehouse or co-op. Especially in an 'economic climate' that is pretty bleak, the best part about this form of expression is that it's real. At least I think so. There is less commerciality, which is something I think is incredibly important since most main stream music is buried in profit margins. Also, I think this is also very appealing to the audience of this movement of music, especially while living in New York City: a living, breathing advertisement...

Open Viewings: Total Number: More than Several:
-A lot of movement in this piece, rhythm influences dance and vice versa.
-The song grows and expands and then collapses, fitting to the scene in the laundromat... ending like a cycle.


Syntax: Beg Waves = Tongue Trill Between LA Release on Ti/Waa Waa in E Major/ Notice theRe ARe No REal WordDS in this Song.
-Opening Theme: Bass Pounding E Major
-Main Compositional theme is built in the E Major scale scrounging and feeling around the scale.
-Gold Mean: Centered around lead guitar teeter tottering between la and do.

Virtual Feeling: Maybe this whole thing is Virtual Feeling.. or is that Meta Critique?
So this is where we look at the performance aspect of the song? I guess this ties into the my historical analysis aspect of this analysis because their stage is lineoleum in a laundromat in Queens. Their audience scared away and yet they're completely un-phased. Molly Siegel's dance, a bouncing squat, as free as the piece.


My Reaction/Extreme Bias/Meta Critique:There's integrity in art rock... at least for now.

"Beg Waves," as big as color.

I guess my suggestions for a further analysis would include really dissecting the piece (syntactically) and fully analyzing the performance. But I'd probably never get that far because I can't really stop listening/watching it. There are several live videos of Ponytail (un-edited) but it's very difficult to find tapings with good sound quality. I think this critique could and should incorporate other artists of this movement and its effect on audiences. The barrier break down between artist and audience, the stage (the physical kind) removed, leaving more room for dance parties.

Music Video By: Michael Guidetti & David Berezin.



Find the Ponytail myspace page: http://www.myspace.com/jreamteam

Chapter 2: Should The Method Define The Tasks?

Marilyn Monroe, By Richard Avedon

The second chapter of Lawrence Ferrara's, "Philosophy and The Analysis of Music," looks at the tasks of defining a musical experience, in ways that I've never really thought would be positive in understanding the meaning of an artistic work.

The chapter begins by discussing what successful musical analysis methods have in common: defining what tasks they plan to use in discovering meaning. Hans-Georg Gadamer is introduced because of his idea of pre-understanding. "Prejudice" Gadamer describes, can be a positive tool to understanding art. Ferrara writes, "Understanding is a fundamental way in which man engages and exists in the world. Prejudice impacts on understanding because as a historical being, man can only understand the standpoint of his time and cultural place" (p.34).

An interesting point about prejudice is that the composer's view point, can inform and provide insight to the meaning of their work but a person's fresh insight of the object under analysis can be helpful-- the balance of view points is crucial.

Also introduced is the impact of music on the listener, "Transforming the music object into an aesthetic object" (p.36). Further differentiating the difference between an aesthetic object and art objects, Ferrara uses the analogy of art as a financial investment versus art as viewed through a guest viewer's eyes. Art then takes on different meaning to the owner than the new house guest appreciating beauty along with the glory of having a Rembrandt in the living room.


Later, Ferrara compares "phenomenological" and "Hermeneutic approaches to understanding, describing these methods with an analogy of being x-rayed as a means to prove hermeneutic methods lack individuality and freedom, favoring phenomenological analysis because object and subject can be used to look at the nature of music as an object.

My Reaction:

Well, I felt a little bit lost as can be seen in this weeks summary. I am mostly intrigued with the ideas of subjectivity and objectivity that "To be objective means to save an object from dominance" (p.46). An idea I find to be ingrained in many of us when we analyze works of art and discuss our interpretations. But also a relief because I get very frustrated when we impose too much of ourselves on a work or try and speak for an artist. This lead me to think about the Marilyn Monroe photograph. I was able to see it in person at an exhibition in Berlin this past winter. It's probably the most beautiful photo I've ever seen because she looks so real... No more hollywood, striped of all glamour. Richard Avedon waited till just the right moment: capturing the person behind the actress. Thinking about this photograph is helping me digest the concepts in this chapter although I'm having a difficult time articulating why I think this photo is a good example of defining such tasks.



I've also been thinking about art as object this evening. I went to a few gallery openings tonight and all three galleries were packed with people drinking free wine and socializing. Very few people were actually looking at the pieces on the wall. One had to push through to even get to the pieces but it was apparent that art was the least important aspect involved in tonights openings.

Chapter 1: Referential Meaning In Music/Palindromes are Underrated

In Chapter 1 we discuss Susanne K. Langer's book, "Philosophy in a New Key," where she explores that music, like language, is a symbol system. She further explores this idea, maintaining that "meaning in music has rationality and system but cannot be evaluated or fully understood based on the rules of ordinary language" (13). Langer weaves her methods of analysis with the works of philosophers of language.

Langer goes further to dissect the concept of contrasting language types: "1). "genuine" language and 2) "non-discursive" systems, (poetry, music, ritualistic arts). Music, Langer believes, is "non-discursive" because it is a function of logic and intuition.

Langer's, Philosophy in a New Key also discusses music as a symbol system. One of the intriguing moments in Langer's analysis is her view that music captures, the "morphology" of feeling. Meaning that music can better convey feeling than language (16). For Langer, music conveys feeling better than language because feeling is a concept that functions more abstractly than language can.

The main criticism of Langer's analysis is that she never uses a theoretical musical analysis to enforce her views of referential meaning in music. For Lawrence Ferrara, the conclusive step to her theory at an extensive musical analysis. Ferrara concludes his argument, by finding that because Langer's theory lacks syntactical research, that it lacks foundation, proving Philosophy in a New Key an incomplete analysis.

My Reaction:

"Bob" By: "Weird Al" Yankovic


By: Simon Evans
James Cohan Gallery, New York, New York
February 20th, 2009

Introduction: Philosophy and the Analysis of Music

UNK's, "Walk It Out" set to Bob Fosse's, "Original 60"

The Summary:

In Lawrence Ferrara's Philosophy and the Analysis of Music, the reader is introduced to the multiple levels of the musical experience and begins to rationalize the approaches to understanding the musical experience.

Dr. Ferrara begins the introduction by stating that music is "happening" and that the word "music" merely names a category of activity. Music involves performance as an experience that engages emotions and rationality together, the listener is involved in a multi-dimensional musical experience. Ferrara introduces the categories he wishes to dissect later in the book: Phenomenological methods which are used to describe music in sound and time, Conventional methods also addressed as syntax explain musical form, and Hermeneutic methods that support referential musical interpretations which explore the feelings and historical context that the composer could be referencing in his/her work.

Lawrence Ferrara attempts to explore how these methods of interpretation interact with each other and can't always stand alone when trying to gain access to a work's meaning. Ferrara writes, "Each method tends to omit at least one dimension of musical significance," and the "back and forth movements between" the methods of analysis create a much fuller understanding of the musical experience.

The Personal Reaction:
Bob Fosse's, "Original 60" staring Gwen Verdon.

UNK's original video, "Walk it Out"

It's very intriguing to me that I am beginning this class at this point in my life. Technology is making it so that we can mash together whatever we want to create new forms of art out of past forms of art. The Youtube video posted above is UNK's, "Walk It Out" set to Bob Fosse's "Original 60" dance number. I think this ties into what we were discussing in class today. I know that I do not have time to go into a full eclectic analysis in this reflection but I really want to further express that I also think it's possible for art to be open ended and adaptable. I enjoy "Original 60" ten times more than I do to the original music it is set too. I am passionate about the idea that art can become anything we want it to be and I strongly believe that art is never finished. I think that this leads to more connectivity in art between artists and the art enthusiast. I also wanted to post Beyonce's, "Single Ladies," because it is said to be inspired by Bob Fosse's choreography... or perhaps the "Walk it Out" video?

Beyonce's "Single Ladies (Put a Ring On It)"
http://www.youtube.com/watch?v=8mVEGfH4s5g