ABSTRACT
In failing to recognise [Example 4], the ordinary music lover may show himself to be more expert in harmony than he had imagined himself to be.
(Bullivant in Arnold 1983:825)
THE CLAIMS OF INTUITIVE KNOWLEDGE
Intuitive, personal or acquaintance knowledge lies at the heart of musical experience; indeed, it can be shown to be crucial for all knowing. Its relationship to logical or analytical knowledge is something of a philosophical tease as well as an educational tension; there is a dynamic relationship between intuition and analysis which I have already hinted at but not yet explored. It is worth an excursion into this here-however briefly-for it may expose some misunderstandings that can waylay musicians, critics and teachersindeed, any who think and write about music. As a starting point we should be grateful that a positive way of looking at the problem has been particularly clearly expounded by Benedetto Croce, writing from Naples at the turn of this century. The Italian philosopher puts his finger firmly on the crucial distinction and draws out some of the consequences. His forthright expression
of this insight is proclaimed on the first page of his first chapter of the book, Aesthetic.
