Schubert "Heidenröslein, D. 257 (Op.3/3)" - Meta-Critique

The eclectic analysis of "Heidenröslein" generated a lot of valuable data about the poem, the song, and their relationship as a lied.  The most success was found in Steps 3 though 6 (syntax, phenomenology, musical and textual representation, virtual feeling).  The movement between each step truly built upon itself each time and led to a comprehensive understanding of the nature of the piece upon completing Step 6.

The flaw of this eclectic analysis is perhaps its eclectic-ness.  In analyzing "Heidenröslein," one must consider the poet, the composer, and the vocalist.  None of these three artists can be left out since each plays such a crucial role in this analysis: phenomenology could not be completed without thoughts on the vocalist, musical and textual representation relied on the poet, and syntax was based in the composer.  The true issues surfaced in the relms of onto-historical world and historical background, during which the analyst attempted to include information stemming from all of the artists.  However, as one knows, the more information one tries to squeeze in then the less specific one can be.  Additionally, it might have been beneficial to do a brief analysis of "Heidenröslein" set to different music by different composers (at least one or two) in order to set up another step of the eclectic: comparative analysis.