I wonder about the kind of musical analysis that you quote from Levinson and Rosen, is it a practice that is only applied to European classical music? I am probably misinformed, but if not--if I am in fact correct--they why? Is it because this kind of music leans more heavily than other forms on technicality?
I don’t think it is limited to European classical music, though I believe its application to non-Western traditions is sometimes considered controversial.
I wonder about the kind of musical analysis that you quote from Levinson and Rosen, is it a practice that is only applied to European classical music? I am probably misinformed, but if not--if I am in fact correct--they why? Is it because this kind of music leans more heavily than other forms on technicality?
I don’t think it is limited to European classical music, though I believe its application to non-Western traditions is sometimes considered controversial.