What is theory for? You might be thinking now that theory has caused a great deal more trouble than it is worth, and that analysis without theory would be the safest way forward. Perhaps Tovey’s practical approach appeals to you, because it is apparently unburdened with theory. If we look a bit more closely at Tovey, however, we notice he cannot do without the theory about the medium of music. He uses terms such as “tonic” and “dominant,” for instance, that stem from the theory of Hugo Riemann (1849–1919) according to which harmony has “function.” And he also uses concepts such as “theme” that belong to the basic theoretical vocabulary of musicology. Also, it turns out that he has a very fixed idea that an analysis should be a “story” that unfolds in parallel to the piece of music. That is another covert theory, namely that music is understood as a single line extending in time… ???
What is theory for?You might be thinking now that theory has
caused a great deal more trouble than it is worth, and that
analysis without theory would be the safest way forward. Perhaps
Toveys practical approach appeals to you, because it is apparently
unburdened with theory. If we look a bit more closely at Tovey,
however, we notice he cannot do without the theory about the medium
of music. He uses terms such as tonic and dominant, for instance,
that stem from the theory of Hugo Riemann (18491919) according to
which harmony has function. And he also uses concepts such as theme
that belong to the basic theoretical vocabulary of musicology.
Also, it turns out that he has a very fixed idea that an analysis
should be a story that unfolds in parallel to the piece of music.
That is another covert theory, namely that music is understood as a
single line extending in time???
