Decoding Bach Critical Analysis

Decoding Bach Critical Analysis
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Decoding Bach Critical Analysis
The piece delves into a debate on the characteristics of music. Often, questions are raised on the subjectivity or objectivity of music. The assertions stem from a protracted confusion embedded in Peter William’s claim that music expresses thoughts to him. The author steers the understanding that, in exploring the subjectivity or objectivity of music, a clear distinction must be drawn between thoughts and feelings. The author further extends insights into the different emotional colors of music. For every listener, the specificity of emotion lies in the very nature of music. The topic of engagement in this pieces targets every stakeholder in music with learners, educators, composers, performers, and conductors should understand. This piece bears complexities in illustrations that it would barely be understood by an individual who only masters limited knowledge in music. To all the above stakeholders in the music, the author triggers a debate on the layers of a music piece that trigger the multiplicity of meaning to a multitude with colors of emotions. From the content of the text, stakeholders in music are stimulated to understand whether music conveys its meaning through words or there are aesthetic layers that combine to mark the multiplicity of emotional appeal that true compositions command.[Graubart, Michael. Decoding Bach 1: Emotion or Meaning? Musical Times; Autumn 2000; 141, Music Periodicals Database]
The analytical insight into this piece leads to the understanding that there are multiple avenues of interpreting music. The author’s input into how music can be interpreted is unique and explorative of prospects that most people are not knowledgeable about. While it is common knowledge that people manifest varying expressions of meaning stemming from their emotions, it is barely clear the layers or elements of music trigger various emotions and how. The unique analysis of musical layers’ interdependence in stimulating emotions is marked with the author’s exploration of motifs. The motifs are little musical units that return in various ways, as though taking on changing shapes and sizes each time. At the same time, motifs are common enough for stakeholders in music to recognize them right away as soon as they are triggered. Depending on the fluency and mastery of the implied C major, different layers of motifs can be developed to steer varying expressions and meanings. Such a detailed exploration is not commonplace. Analyzing music as text or aesthetics is a unique way of understanding music through its layers, thereby leading to a proper conclusion on the subject of music.[Graubart, Michael. Decoding Bach 1: Emotion or Meaning? Musical Times; Autumn 2000; 141, Music Periodicals Database]
There are multiple reasons w...