Emily R. E. Baron
N10038026
Educational Theatre
Spring 2009
E85.1505.001 - The Performing Arts in Western Civilization
SUMMARY
Previous to this chapter, Ferrara goes into depth all of the philosophies he uses in this final eclectic analysis. During this 10-step process, Ferrara informs the reader that it is important to both stay true to yourself while also be open to new thoughts. Not only does the analyst partake in Conventional, Phenomenological, and Hermeneutic forms of analysis, but there is also a section of self-critique, or meta critique. However, what is the point of going through this process just to analyze a piece of music, poetry, painting, or any other form of art work?
Through participting in this multi-level process, one is able to successfully analyze art from all different angles. Whether it be it's historical context, it's syntax, or even your own self-critique of the piece, once you have gone through the eclectic analysis, that is the ultimate test of attempting to be open ad learning from the past to determine the piece's future.
PERSONAL REACTION
As I start to think about what I am to choose to analyze for my final eclectic analysis, many questions go through my mind. Because I am not a music student, will the syntax component be doable? Because of past experiences and/or knowledge, will my analysis look different from everyone else's? I see me being an Educational Theater student as both a curse and a blessing in disguise. Yes, I may not know a lot about syntax or the language of music, but I am open to learning. Also, I can bring forth experiences of being in the theater and practicing different acting techniques as background information. My analysis on how the song is performed may be in even more detail, since I am able to possibly point out acting beats or pauses in a song. My goes is to find a song that is very theatrical yet not one from a musical. I want to challenge myself in finding something new yet something I can connect to as well.
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