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Score analysis

Posted by Athair 
Score analysis
February 09, 2017 09:26AM
Hi; i was thinking about score analysis in general and thw following question came up: did the analysis of music scores by, let's say, Beethoven improve music score-analysis generally (that is, of music by other composers, either contemporary or not, to the former)?

What do you think? Any suggestion would be great to read! Greetings!
Re: Score analysis
April 23, 2017 03:03AM
Sorry, I don't have better idea about this. I hope someone will help you sure.
Re: Score analysis
April 23, 2017 10:20AM
That's ok; greetings!
Re: Score analysis
April 23, 2017 10:24AM
Not sure if you're still keeping up with this post, but, I did a lot of theory analysis in college, and it definitely helped me personally a lot with writing better music. I find even analyzing music today that's created can be a refreshing way to be inspired. I'm a theory nerd so I always find it fascinating to see what people capitalize on; even with mainstream pop and country music.

To respond more directly; yes I feel it has helped in general analysis of music. People study that stuff like crazy and it gives a very solid foundation to justify things like chord changes and melodies. On the other hand, these older composers weren't necessarily analyzing the crap out of other people's music to get ideas. Which just makes me think how we shouldn't let music theory put us into a box, but rather use it as a tool without loosing our own creativity; or if your intention is to just make a profit, by all means, box it up :-)

Just my thoughts haha what do you think?
Re: Score analysis
April 24, 2017 07:56AM
Thanks! Interesting! By now i tend to think of score analysis as a mean of enabling a sort of schenkerian-type of analysis: that is, getting in touch with the development of structural vs extension degrees in a given piece, etc.

After a rather heavy time studying harmony and counterpoint (though in a self-taught fashion and in the reverse order) i've only recently started to get some issues that still seem to be elementary: for instance, the harmonic difference among several dispositions of a given chord (either triad or not). It seems like you could write a simple motive going from, say I to V, by writing a fixed chord (I, for example) within a sequence of varying dispositions: among some of those you could have a few which harmonic features resembles a sort of pedal-like V effect, etc. By so doing, you would eventually get a more "grounded" outcome than otherwise, so to speak.

Another related issue could be getting to know whether a given chord-progression's harmony is dominated by some interval, etc. Assuming it was, then some extension (i.e.additional chords) could be written in order to either change such an interval onwards or to keep it, etc.

By the way, what are the issues you would drive your attention to when analysing some score? Greetings!

Edited 3 time(s). Last edit at 04/24/2017 08:02AM by Athair. (view changes)
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