Phenomenology as a Tool for Musical Analysis

Ferrara, Lawrence

doi:10.1093/mq/lxx.3.355

Cited by 51 publications

(29 citation statements)

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“…While the phenomenological approaches in this observation are based on the works of the original phenomenologists, two specific approaches need to be explained further here to give a clearer understanding of how the methods used in this research. Ferrara (1984) proposes a phenomenological method as a tool to analyze music that has a different understanding from the phenomenological works of Husserl, Heidegger and Merleau-Ponty, in that it uses a construction of syntax, semantic, and ontological conception. Ferrara's approach is closer to structuralism way of analyzing where it sees its object as a form of language or a metaphor.…”

Section: Methods and Theoretical Frameworkmentioning

confidence: 99%

Sembilan Matahari’s Vmaps: Retelling Geographical Memories and Narratives in Digital Culture

Allo

2016

MEL

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Abstract:Images and representations have long been used to tell the history of a place, to crystalize local memories, myths and beliefs, and to share meaningful values in a collective life. Sembilan Matahari, one of the nationally renown film-makers and video artists in Indonesia, has produced works of video-mapping (vmap) from 2010 to 2014 in public spaces as part of the local events to celebrate and re-activate the life of a people. Through Sembilan Matahari's works the city of Jakarta, Pekalongan and Bandung have animated their iconic buildings to tell their stories and renew the memories of the place and the people. This article is based on a research examining the spatial construction of the event and the videomapping, and how these spatial constructions relate to the geographical memories and narratives of the place. By using phenomenological approaches, this writing will explain how the three spatial constructions relate to one another, and how the reading/ interpretation of the videomapping occur in experiencing Sembilan Matahari's works.

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Section: Methods and Theoretical Frameworkmentioning

confidence: 99%

Sembilan Matahari’s Vmaps: Retelling Geographical Memories and Narratives in Digital Culture

Allo

2016

MEL

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“…The "correctness" of the analysis cannot be measured (Ferrara, 1984).The meanings that come to light are totally unique to this patient, as seen and understood by this observer, based on the patient's expressions in these two sessions.…”

Section: Metacritical Evaluationmentioning

confidence: 95%

A Song Is Born: Discovering Meaning in Improvised Songs through a Phenomenological Analysis of Two Music Therapy Sessions with a Traumatic Spinal-cord Injured Young Adult

Amir

1990

Music Therapy

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“…I have already argued that the electroacoustic community already meets three of the four criteria of a wise crowd (Gatt 2013): 12 the final criterion that was not meet was aggregation, which Surowiecki (2004: 74) 9 In his book Music and Discourse (1990), Nattiez is one of the few scholars to consider the implications of semiotics within electroacoustic music. Ferrara (1984) has also indicated how a phenomenological approach to analysis could be applied to an electroacoustic work. 10 Which might include a score, graphical representation, written analysis or multimedia application.…”

Section: Theorymentioning

confidence: 99%

The OREMA Project: A call for the liberation of sound analysis

Gatt¹

2015

Org. Sound

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Following Edgard Varèse’s influential lectures – translated and documented in ‘The Liberation of Sound’ – electroacoustic music has spawned many different styles and genres. His argument was for composers to follow their imagination and not be bound to the constraints of musical notation. This, arguably, was one of the catalysts for the emergence of electroacoustic musical works. With past and recent technological advancement, the varieties of genres and styles within electroacoustic music have only expanded, challenging the notion of how one could analyse such works. It is therefore unsurprising that there is no general consensus on analytical methodologies. But for an art form that celebrates all musical possibilities should the analysis of such musics be constraint to a set number of formalised analytical methodologies?Rather than propose a new all-encompassing methodology, this article will argue for a universal approach to electroacoustic music analysis and the liberation of sound analysis. The concept of an analytical community (a community that accepts multiple analyses whilst encouraging practitioners to find new and innovative ways to analyse such works) will be raised as a means to address the issues facing electroacoustic music analysis, using the OREMA (Online Repository for Electroacoustic Music Analysis) project as an example of such an initiative.

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Phenomenology as a Tool for Musical Analysis

Cited by 51 publications

References 0 publications

Sembilan Matahari’s Vmaps: Retelling Geographical Memories and Narratives in Digital Culture

Sembilan Matahari’s Vmaps: Retelling Geographical Memories and Narratives in Digital Culture

A Song Is Born: Discovering Meaning in Improvised Songs through a Phenomenological Analysis of Two Music Therapy Sessions with a Traumatic Spinal-cord Injured Young Adult

The OREMA Project: A call for the liberation of sound analysis

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