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...there is no point to musical analysis at all unless it is 'two-dimensional' – unless one examines the music in terms of what I call its 'Background' and its 'Foreground' . That is to say, the composer creates certain expectations, well-defined expectations, which he proceeds to meaningfully contradict. There is therefore a strong relation between 'Background' and 'Foreground', between that which happens and that which lies at its back – or to put it the other way round, between that which the composer leads you to expect, and that which he does instead... (en) |
