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: