Abstract and Keywords
This paper examines some ways in which analysts create relationships with musical works, based on evidence provided in music-analytical and other writing. The relationships that are considered extend from those of analysts who articulate an entirely aural relationship with the music analyzed, through those who hear movement and action in the sounds, to those who project tension and affect into the music based on an analogy with interpersonal empathy. The qualities and characterizations ascribed, whether movement, tension, or something else, are due to a transformation of the everyday into musically specific events, processes, and interactions. The distinction between kinds of relationship is not sharp since, in actuality, many analysts integrate a mixture of descriptions in analyses in order to reflect what they notice and experience in close and caring relationship with the music analyzed.
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