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Varieties of Analysis: Through the Analytical Sieve and Beyond: Arthur Wenk

My rule-of-thumb definition of analysis, purely for the purposes of the index, has been "technical talk about particular pieces of music." This pragmatic formula attests to my perhaps overly optimistic notion of an ongoing conversation of specialists about questions of the inner workings of musical compositions. It also serves to separate analysis from questions of biography, Zeitgeist, performance practice, paper studies, organology, pedagogy, iconography, sociology, aesthetics, libretto studies, archival research, acoustics, or other subjects within the domain of scholarly musical colloquy. I further distinguish analysis from pure music theory. The analysis index restricts itself to technical talk about particular pieces. One notices right away, however, that this is a rather peculiar kind of conversation. To begin with, most of the participants utter a single remark and then depart. I do not mean to imply that they have nothing more to say, for many of them publish other articles on a variety of non-analytical topics. But it remains the case that 70% of the authors in the analysis index are represented by unique entries.