Excerpt from "How We Got into Analysis, and How to Get Out" by Joseph Kerman

It may be objected that musical analysts claim to be working with objective methodologies which leave no place for aesthetic criteria, for the consideration of value. If that were the case, the reluctance of so many writers to subsume analysis under criticism might be understandable. But are these claims true? Are they, indeed, even seriously entered?

Certainly the original masters of analysis left no doubt that for them analysis was an essential adjunct to a fully articulated aesthetic value system. Heinrich Schenker always insisted on the superiority of the towering products of the German musical genius. Sir Donald Tovey pontificated about "the main stream of music" and on occasion developed this metaphor in considerable detail. It is only in more recent times that analysts have avoided value judgments and adapted their work to a format of strictly corrigible propositions, mathematical equations, set-theory formulations, and the like - all this, apparently, in an effort to achieve the objective status and hence the authority of scientific inquiry. Articles on music composed after 1950, in particular, appear sometimes to mimic scientific papers in the way that South American bugs and flies will mimic the dreaded carpenter wasp. In a somewhat different adaptation, the distinguished analyst Allen Forte wrote an entire small book, The Compositional Matrix, from which all affective or valuational terms (such as "nice" or "good") are meticulously excluded. The same tendency is evident in much recent periodical literature.

Joseph Kerman, professor of music at the University of California at Berkeley, has been the editor of Nineteenth-Century Music. His books include Opera as Drama, The Elizabethan Madrigal, The Beethoven Quartets, Listen (with Vivian Kerman), and The Masses and Motets of William Byrd.

© 1980 by The University of Chicago. All excerpts appear in Critical Inquiry, Volume 7, Number 2 (Winter 1980). This text may be used and shared in accordance with the fair-use provisions of US copyright law, and it may be archived and redistributed in electronic form, provided that this entire notice is carried and that the University of Chicago Press is notified and no fee is charged for access. Archiving, redistribution, or reduplication of this text in other terms, in any medium, requires both the consent of the authors and the University of Chicago Press.

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