Musical Text
Formalism-Expressionism
Absolutism - Referentialism
How Can We analyse It?
Eduard Hanslick (1825-1904)
Guido Adler (1855-1941)
Production
Reception
Songwriting Process
Studio Practices
Impact of Society
Impact of Culture
Historical/Cultural Gap
Phycological Gap
Compositional Process
The Press
Producing and Manufacturing
The Record Company/Label


Can We Transfer Musical Notes Into the Writen Word?
Death of the Author

The Open Work

Mayer (p.8)
Nietzsche (The Birth of Tragedy)

Emotion of composer
Emotion in Text
Emotion felt by listener
Intent of Composer
Pleasant - Resolution
Control of Expectations
Suspense - Lack of Control (Emotion felt is 
aroused when resolution is prohibited according to Mayer.
Expectations conrolled by history, tradition genre and style (We attempt to fit the gesture in - how does it make sense?
Meyer believes meaning cant exclusively be located in the music itself (The 'Signifier') or what it refers to (The Signified) (34) - but a combination of these - in addition to the observer
Primary Signification
Secondary Signification
The Observer = MEANING
What it signifies (plus -)
The Text (plus -)
Neutral
Quotation/Parody
Writing About Music is like Dancing About Arhetecture (Costello)
'Language constructs reality, rather than merely reflecting it' (Nicholas Cook)
Production
Poietics
                              
Compose - Perform - Appraise (or)
Aesthetic Capital/Collection
Compose
Perform
Appraise
What is the order?
The Authority of Author
Music as a reflection of the Devine
Robert Fludd 
'The Devine Monochord' (1617)
Pythagoras (c570 BC)
Plato (c424 BC)
Aristotle (c384 BC)
Boethius (c525 AD)
Augustine (354-430)
Francino Gaforio (1451-1522)
Johannes Kepler (1571-1630) 
Fernand Khnopff (1833) 'Upon Hearing a Beethoven Symphony'
Eugine Lami 'Listening to Schumann' (1840)
Does Music reflect reality - or construct it?
Issues with Interpreting Music
How Firm is the Ground we are standing on?
The Role of the Reader
One Theory - Leonard Mayer (1918-2007)
Schenkerian analysis
Roman Numeral Analysis
Music Theory
Problems with Western Centric Thinking
Music Reflecting Emotion ETC
Potential Solutions -
Phenomenolical Approach
Historical Practices
Adaptation Potentials
Enthomusicology

Or -
Who is in  charge of the band?
Issues with Production based musicology 
- What about the music?

 The Merchant of Venice (1596-1598)

How sweet the moonlight sleeps upon this bank! Here will we sit and let the sounds of music Creep in our ears: soft stillness and the night Become the touches of sweet harmony. Sit, Jessica. Look how the floor of heaven Is thick inlaid with patines of bright gold: There's not the smallest orb which thou behold'st But in his motion like an angel sings, Still quiring to the young-eyed cherubins; Such harmony is in immortal souls; But whilst this muddy vesture of decay Doth grossly close it in, we cannot hear it.

Arcades - Milton (1634)
But else, in deep of night, when drowsiness Hath locked up mortal sense, then listen I To the celestial Sirens’ harmony, That sit upon the nine enfolded spheres, And sing to those that hold the vital shears,        And turn the adamantine spindle round On which the fate of gods and men is wound. Such sweet compulsion doth in music lie,
The Physical Properties of Sound
Type or Token/Text or Work
Experience of Composer
Jean-Philippe Rameau (1683-1764) 
- Treatise on Harmondy (1722)
-
Consumption/Interpretation
Esthetics
Immanent
Production analysis