Agawu: Playing with Signs (and Language)
1. Agawu: "To understand the processes of one system in terms of those
of another may prove enlightening." A good soccer player is capable of playing any position on the field. A
persons affluence in a particular religion or spiritual
belief is far more enhanced if one acquires knowledge in multiple facets in those
particular areas of study. So to with musical theory, it is best to come
to terms with various methods to strengthen ones own preferred
methodology.
2. Agawu presents a number of sound methodologies enabling us to dissect
the works of new musicologists,and,in turn,form our own grounds in finding
answers to cohesive and preferential analysis. Agawu maintains that a
search for clarity of language in music continues (laying no claim to a
universal present day definition), but serves as a fundamental model for
music analysis in a variety of forms.
3. I agree with his assumption that perhaps "Mozart and Haydn spoke one
language whereas Brahms and Wagner, Schumann and Chopin, or Bach and
Rameau spoke different languages." With reference to linguistic analogy
composers exude unique qualities, diverse in nature and meaning. As
Agawu writes, Friedrich Blume "advocates the idea of universals in musical
expression" maintaining a "fundamental reliance on the linguistic analogy
and metaphor." Agawu questions whether language (words) can interpret
meaning and expression in music. On a cosmic scale
language would not even be a contender - it's all vibration. On earth - different story. I
believe that it can when we refer specifically to the linguistic field of
study. Nevertheless it is ones own interpretation of language and as such
will inevitably carry with it ones own assumptions.
4. In Postmodernism and Post Structuralism, Madan Sarup refers to
psycho-analyst Jacques Lacan: "in the act of
interpretation we often impose our own assumptions." Sarup elaborates on
Lacans belief that "the unconscious is a hidden structure which resembles
that of language." Therefore, should analysts not delve beyond the
single-horizontal voice to a deeper language where one may find numerous
associations that abound and connect in enhancing musical analysis?
5. In Melissa's Music Theorists to the Rescue, I concur with her idea of
applying the methodology of postmodernists. Traditional history is in
favor of stable structure;however, Foucault, for example, seeks to discover
discontinuities which in turn unify in terms of two forms intersecting,
then recognizing one another. I don't think that one should reduce language to a linear
schema in its entirety, grappling only with its limitations. Rather, I would
like to see the implementation of language integrated in a productive
manner from different angles - such as those theories offered by
postmodernists. Maybe then, Agawu's concern for the "need to look within
the 'purely musical' for an interpretive framework" can be found.
6. I do not wish to abandon the formal concept of methodology. Agawu mentions
theorist David Lidov and his balance between music theory and new semiotic
literature - Great! I simply yearn for a concept(s) that takes the road
less traveled. Here in may lie advancement.
7. In reference to Melissa's question re: the idea of topics in music as
fact or a viable form of rigorous analysis for theorists - Review of
Agawus Playing with Signs. I think the topical approach can be an asset
in analysis. Agawu states: "topics are subjects of musical discourse"
and can be beneficial in the preliminary stages. Why? Beyond the
descriptive offerings that topics provide, "intuitive adequacy" can allow
both the composer and audience to engage into the deeper dimensions of the
music.
