Tonality and Narrative in Heinrich Schenker's Lieder op. 6

Part I of this book will serve as an introduction to Heinrich Schenker as a composer and to the theoretical and philosophical bases of the subsequent analysis by surveying the development of the organic metaphor throughout his writings. It consists of (1) a biographical sketch highlighting experiences and relationships pertinent to his development as a composer; (2) an overview of his compositions; (3) an examination of contemporaneous critical reaction based on archival research; and (4) an account of the genesis of the concepts of monotonality and the organic metaphor through his theoretical work illustrated by examples from the standard repertoire. Part II, the analytical component, consists of (1) a presentation of the main compositional techniques to be discussed, namely incomplete transferences of the Ursatzformen and hidden motivic repetition, as found in Schenker’s writings and illustrated by examples drawn from both the standard repertoire and Schenker’s own works; and (2) demonstrations, via analytical commentary and graphic analyses, that several of Schenker’s unpublished vocal works show his dramatic and poetic use of auxiliary cadence progressions.

Journal of Music Theory, 2016

In this article, I survey the Schenkerian literature (through 2004) of Austria and Germany, Bulgaria, China, Croatia, the Czech Republic, Finland, France, Hungary, Israel, Italy, Japan, the Netherlands, Poland, Russia, Slovenia, and Spain. I conclude the article bibliography.

Schenker-Traditionen: Eine Wiener Schule der Musiktheorie und ihre internationale Verbreitung [Schenker Traditions: A Viennese School of Music Theory and Its International Dissemination], 2006

Among those who contributed to the early spread of Schenkerian ideas in the U.S., one played a crucial and unparalleled role during the 1930s: Hans Weisse, one ofSchenker's most esteemed students. Although Jewish, Weisse was not a political or war refugee, as were later Schenker emigres such as OswaldJonas and Felix Salzer. Instead, he came to the U.S. to teach in the fall of 1931; by the time his former colleagues were finding their ways from Europe, Weisse had already become an American citizen. 2 He died prematurely in 1940, roughly eight and a half years later, but by then his impact on the pedagogy ofmusic theory and analysis was already being felt, not only directly, in institutions where he taught, but through his many students who were also active in disseminating the Schenkerian approach.

Music Theory Online, 2016

Carl Schachter is widely admired as a leader in the field of music theory and analysis, largely on the basis of his celebrated textbooks, published essays, and conference presentations. However, many of those who have been fortunate to study with him have long felt that it is within the classroom setting that Schachter's skills as a musician and scholar shine the brightest. The transcribed classroom lectures that make up The Art of Tonal Analysis now allow others to share in the experience of Schachter's classes as well. [2] I considered recusing myself from reviewing this book, since I am far from a disinterested judge of it. I have taken or audited around fifteen semesters of Schachter's seminars over the course of more than thirty years, including the class in 2012 that formed the basis of this book, and owing to my attendance in the class I was invited by Oxford University Press to write a blurb that appears on the book jacket. I nonetheless decided to participate in this review colloquium for reasons similar to ones that Carl Schachter offered in his own review of Ernst Oster's translation of Heinrich Schenker's Free Composition (Schachter 1981), for I feel I can offer a special perspective on this text and its approach. [3] The Art of Tonal Analysis is divided into twelve chapters or "lessons," each roughly corresponding to a class session. An appendix offers Schachter's answers to general questions posed by students, followed by a glossary of basic Schenkerian terminology and a bibliography of works cited. Most chapters are devoted to analyzing one or two pieces; the two exceptions are Lesson One, which examines the use of linear progressions and neighbor notes in a handful of compositions, and Lesson Ten, which focuses on issues of rhythm, hypermeter, and phrase structure. The composers Schachter discusses at length are the same ones favored by Schenker: J.

Handbuch Musikanalyse, 2017

Specifically, the term “Schenkerian analysis” can refer to one of three things: (1) the analytic concepts that appear in Schenker’s writings (the “actual Schenker”); (2) Schenker’s ideas as they are characterized by his followers (the “idealized Schenker”); or (3) the body of analyses that are to varying degrees influenced by Schenker (“Schenkerian practice”). Though interrelated and overlapping, these three meanings remain distinct from one another. Unfortunately, when discussing Schenkerian analysis, people often mix up these three categories, which in turn creates confusion. This essay seeks to clarify the distinction, history, and nature of these categories, along with a discussion of receptions history of these concepts Note: this is an English translation of essay to be published in Handbuch Musikanalyse. Methode und Pluralität, ed. Ariane Jeßulat, Oliver Schwab-Felisch, Jan Philipp Sprick, Christian Thorau. Kassel: Bärenreiter. 2017 is when the essay was written; the proper date of this essay is "forthcoming."

19th-Century Music, 1984

Transcultural Music Review, 2000

However, most of Schenker´s theory;as expressed in his late writings, such as Free Composition (Schenker 1979), published in 1935 shortly after his death; is culturally, stylistically specific: the availability of just a few forms of the fundamental structure, the voice-leading principles, ...

2018

uch has been done over the past thirty years to contextualize Schenker's published theories and analyses. We have learned of Schenker's intellectual debt to nearly every prominent strand of Western philosophy, stretching from his own era back to ancient Greece, and even looking forward beyond his lifetime to ideas he anticipated; we have been shown the centrality of Schenker's legal studies for both the substance of his theories and the language in which they are expressed; we have debated when, how and if Schenker was or became organicist, or modernist, or what it meant for him to be a Galician Jew in fin-de-siecle Vienna, and later a monarchist in a defeated empire; we have in turn excused and excised, resurrected, refuted or claimed centrality for Schenker's politics-this list could go on, and is likely still being written. 1 All of this has proven invaluable, particularly as a means of comprehending both apparent and real contradictions within Schenker's writings. In some cases it has also helped us to interpret the stages of Schenker's development, by framing them in 1 A short list of publications that formed my perspectives on the topics mentioned includes

This bibliography and guide consists of over 1,500 citations to both primary sources and the burgeoning secondary literature, annotated and subdivided by category. The list is supplemented with indices cross-referencing entries according to individual works and analytical topic. Reviews of many of the books cited are included, as are discussions stemming from certain articles. Appendices include a chronology of Schenker's life and information on symposia dedicated to his life and works. A multilingual glossary of Schenkerian terms and an index of authors concludes the volume. This volume promises to fulfill the needs of both students and professionals in the field of music theory.