1. What are the two “ideologically imposed restrictions” in analysis early music? What is Leech-Wilkinson’s argument against the two ideas?
2. What is an analyst’s task when he/she approaches a piece of music? What is Leech-Wilkinson’s argument in support of applying Schenkerian techniques in analysizing Ros, Lis? Do you agree with that?
3. How do “tonality,” motive and cadence operate in this analysis (or what is their equivalences)? What voices are essential in the analysis and which is “disposable?” Do you think the claims are well-supported? Why? (In addition: Are there moments in the analysis that is easily verifiable by our “modern” ear as you listen to the piece?)
4. What possibilities has Leech-Wilkinson proposed about the preparation
2. What is an analyst’s task when he/she approaches a piece of music? What is Leech-Wilkinson’s argument in support of applying Schenkerian techniques in analysizing Ros, Lis? Do you agree with that?
3. How do “tonality,” motive and cadence operate in this analysis (or what is their equivalences)? What voices are essential in the analysis and which is “disposable?” Do you think the claims are well-supported? Why? (In addition: Are there moments in the analysis that is easily verifiable by our “modern” ear as you listen to the piece?)
4. What possibilities has Leech-Wilkinson proposed about the preparation