Anno 2022/2

Après avoir envisagé avec Marcel Proust, les différents moments et formes d’accès à une œuvre, nous reviendrons à un point de vue très axiomatique sur l’analyse, avec un tour d’horizon épistémologique de ce que les physiciens appellent « l’analyse de Fourier ». Nous prendrons en considération cet exemple et le modèle pleinement mathématisé qu’il véhicule, pour proposer une première approche théorique de ce qu’est un objet musical avec et sans analyse. Nous essaierons ensuite d’étendre les idées proposées par ce modèle aux mécanismes plus complexes proposés par «l’analyse cognitive».

Dopo aver considerato, con Marcel Proust, i diversi momenti e forme di accesso a un’opera, si tornerà a un punto di vista molto assiomatico sull’analisi, con una panoramica epistemologica di quella che i fisici chiamano “analisi di Fourier”. Prenderemo in considerazione questo esempio e il modello totalmente matematizzato che trasmette, per proporre un primo approccio teorico di ciò che è un oggetto musicale con e senza analisi. Cercheremo poi di estendere le idee proposte da questo modello ai meccanismi più complessi proposti dall’”analisi cognitiva”.

The tension between formalist and representationalist views on music’s meaning has been a persistent one in the West, culminating in the second half of the twentieth century in an institutionalized distance between formalism as practiced in academic and classical music circles, and pop and film music practices based on the idea of representation.

The article is aimed at computer-assisted music analysis. Therefore, some automatic analysis algorithms are presented, created in the OpenMusic environment, for carrying out analytical tasks from some of the widespread and historically defined methodologies. Each case is accompanied by a brief practical example. After some preliminary notions and the exposition of the methodological bases of the research, the antecedents in the field of assisted music analysis are out- lined, some software are briefly illustrated, to arrive at the description of the software used, namely OpenMusic.

The relationship between verbal language and musical language has been at the heart of discourse from numerous perspectives and different fields of scientific research throughout centuries. I would like to focus attention on the possibility of employing devices specific to rhetorics as a trait d’union between the understanding of the “musicality” of a literary text and the understanding of a “purely” musical composition with a narratological stamp.