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JSTOR provides a digital archive of the print version of Music Analysis. Tone and focus on specific works makes it of interest to the general reader To post-modern times, and has regular articles on non-western music. Music Analysis is eclectic in its coverage of music from medieval Translations of important articles by Adorno, Molino, Ratz, Ruwet and Schenker.
Music with music theory, critical theory, music history and the cognitive sciences.įounded in 1982, Music Analysis publishes major orientation articlesīy respected scholars such as Allen Forte, Jean-Jacques Nattiez, Arnold Whittall,Īlan Street, Kevin Korsyn and Jonathan Dunsby. Take forward debates concerning the relationship of technical commentary on This kind and through its lively Critical Forum, it also aims to Of new writing focused on musical works and repertoires. Music Analysis is the international forum for the presentation The case study bears out several hypotheses that are basic to Meyer's writings and perpetuated in Gjerdingen's galant style project: (1) that replicated patternings in eighteenthcentury works are commensurate with listeners' knowledge structures (2) that these knowledge structures are historically contingent and therefore engender a situated psychology of hearing (3) that these situated psychologies are affected by style change and (4) that schemata provide access to historical modes of listening today. By establishing a correlation between real listeners' responses in the Symphony's reception history and the details of my own corpus study of music from the long eighteenth century (1720-1840), my Eroica case study brings a novel perspective to the idea that schemata engender a historical mode of listening. The study was conducted in the spirit of the psychologically orientated, humanistic music theory that characterised Meyer's lifelong research program. The evidence I advance here derives from a case study on Beethoven's Eroica Symphony and what I call the le-sol-fi-sol schema. For this reason, the schema concept has remained, in Meyer's and Gjerdingen's words, a 'hypothesis' and 'assum' respectively. That is, arguments for the existence of schemata as mental categories that configure a situated psychology of hearing have been presented primarily in the form of music analysis – historically situated patterns detected in musical scores. Gjerdingen, evidence for the schema concept has been advanced largely by interpreting a musical corpus as a metaphor for experience.
In previous studies by Meyer and Robert O. Meyer, holds that social and historical experience gives rise to knowledge structures that engender a situated psychology of hearing and a contextcontingent understanding of music. The schema concept in music, which originated in the work of Leonard B. This article re-examines the concept of a 'schema' in light of a new body of empirical evidence regarding the culture and cognition of key in the eighteenth century.