By Edward T. Cone
Edward T. Cone used to be some of the most very important and influential track critics of the 20 th century. He was once additionally a grasp lecturer expert at conveying his rules to huge audiences. Hearing and realizing Music collects fourteen essays that Cone gave as talks in his later years and that have been left unpublished at his dying. Edited and brought by way of Robert Morgan, those essays hide a huge diversity of subject matters, together with music's place in tradition, musical aesthetics, the importance of opera as an paintings, environment textual content to song, the character of twentieth-century concord and shape, and the perform of musical research. totally matching the standard and magnificence of Cone's released writings, those essays mark a serious addition to his paintings, constructing new principles, resembling the composer as critic; clarifying and enhancing older positions, specially relating to opera and the character of sung utterance; and including new and infrequently unforeseen insights on composers and ideas formerly mentioned by way of Cone. moreover, there are essays, reminiscent of one on Debussy, that lead Cone into components he had no longer formerly tested. Hearing and figuring out Music represents the ultimate testomony of 1 of our most crucial writers on music.
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Extra resources for Hearing and Knowing Music: The Unpublished Essays of Edward T. Cone
The question is, not whether one can analyze the C as a dominant, but whether, in actual performance, its tonicization becomes so powerful (owing to the lack of a B-flat anywhere) that we cannot help hearing it as a tonic. And if that is the case, no analysis will make the F sound like a tonic for us. Here the progression might be I–V–I, but it might be IV–I– IV. In another case it might be V–II–V. What I am saying is that for me, the sense of tonality is not only or even primarily a formal characteristic, but a phenomenalistic one.
Philosophy and the Analysis of Music, p. ] 18 • Essay Two To establish how a work is to be heard is to establish how it is to be listened to. In clarifying the composer’s aims, intentional analysis at the same time defines the listener’s role—more strictly, the listener’s job—as my little discussion of the Beethoven sonata tried to demonstrate. Music is not simply a score, nor even a performance of a score, but rather a heard performance of a score. To be sure, the listener may be the performer, or the composer may be both; the composition may be mentally performed and therefore silently heard; but the principle remains.
Whether intentionally alluding to Mozart or not, Chopin deceives the listener, for his ambiguous C minor turns out to be a subdominant. Such openings are ambiguous because they invite multiple interpretations of harmonic functions, as we saw in the case of Beethoven’s Op. 53. But the chord that concludes Chopin’s introduction—provided that we accept E-flat as the correct reading of the questionable note—presents what we might call morphological as well as functional ambiguity: what precisely is the makeup of the chord?