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In deep


According to Holly Watkins, the history of music-analytical practice seems to demonstrate that 'the rules of the analytical game are clear: whoever provides the most convincing proof of a piece's coherence, extirpating all traces of disjunction or fragmentation along the way, wins.' Yet pondering the nature of thematic process and formal generation can just as easily promote an enriched sense of ambiguity in which 'the logic of the whole' grows less predictable and less monolithic with every analytical reflection. [...] a response to music like Johann Friedrich Hebart 's, more in terms of motivic identity and process than harmonic layers and levels, could still support the claim that 'music's inherent temporality and multitude of different "ideas" (i.e. themes and motives) make it supremely amenable to interpretation as a representative of the dynamic inner life', while appearing to bring the sense of a governing, unified, integrated, deeper background design into question.

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