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Heinrich Schenker's Conception of Harmony by Robert W. Wason,Matthew Brown Pdf
The first detailed study of Schenker's pathbreaking 1906 treatise, showing how it reflected 2500 years of thinking about harmony and presented a vigorous reaction to Austro-Germanic music theory ca. 1900.
Author : Heinrich Schenker Publisher : University of Chicago Press Page : 396 pages File Size : 52,6 Mb Release : 1954 Category : Music ISBN : 0226737330
Harmony, Heinrich Schenker's first published work, originally appeared in German in 1906 as "New Musical Theories and Phantasies, by an Artist." Its unusual title indicates what was to be the rationale of Schenker's lifework, that artistic problems call for artistic solutions. Schenker's dedication to the formulation of a complete musical theory above the commonplace theoretical discussions was, in essence, his quest for a pattern in nature for music as art. Schenker's theory draws upon a profound understanding of the works of the masters and every proposition is illustrated by a living musical example.
The first two volumes of Heinrich Schenker's masterwork Neue musikalische Theorien und Phantasien, Harmonielehren (1906), and Kontrapunkt (1910 and 1922), laid the foundations for the harmonic aspect of his theory. The specific voice-leading component was a later development, progressing with brilliance over the last 15 years of his life. It is in Free Composition (Freie Satz, 1935) that the idea of voice-leading receives its most detailed and precise formulation. Pendragon Press is honored to make this distinguished reprint available once again, with a new preface by Carl Schacter.
Schenker's Argument and the Claims of Music Theory by Leslie David Blasius Pdf
Heinrich Schenker's theoretical and analytical works claim to resubstantiate the unique artistic presence of the canonic work, and thus reject those musical disciplines such as psychoacoustics and systematic musicology which derive from the natural sciences. In this respect his writing reflects the counter-positivism endemic to the German academic discourse of the first decades of the twentieth century. The rhetoric of this stance, however, conceals a sophisticated programme wherein Schenker situates his project in relation to these sciences, arguing his reading of the musical text as a synthesis of a descriptive psychology and an explanatory historiography (which itself embeds both paleographic and philological assumptions). This book rereads Schenker's project as an attempt to reconstruct music theory as a discipline against the background of the empirical musical sciences of the later nineteenth century.
Author : Robert P. Morgan Publisher : Cambridge University Press Page : 441 pages File Size : 46,9 Mb Release : 2014-07-24 Category : Music ISBN : 9781316061800
Becoming Heinrich Schenker by Robert P. Morgan Pdf
Much controversy surrounds Schenker's mature theory and its attempt to explain musical pitch motion. Becoming Heinrich Schenker brings a new perspective to Schenker's theoretical work, showing that ideas characteristic of his mature theory, although in many respects fundamentally different, developed logically out of his earlier ideas. Robert P. Morgan provides an introduction to Schenker's mature theory and traces its development through all of his major publications, considering each in detail and with numerous music examples. Morgan also explores the relationship between Schenker's theory and his troubled ideology, which crucially influenced the evolution of his ideas and was heavily dependent upon both the empirical and idealist strains of contemporary German philosophical thought. Relying where possible on quotations from Schenker's own words, this book offers a balanced approach to his theory and a unique overview of this central music figure, generally considered to be the most prominent music theorist of the twentieth century.
Today we think of Heinrich Schenker, who lived in Vienna from 1884 until his death in 1935, as the most influential music theorist of the twentieth century. But he saw his theoretical writings as part of a comprehensive project for the reform of musical composition, performance, criticism, and education-and beyond that, as addressing fundamental cultural, social, and political problems of the deeply troubled age in which he lived. This book aims to explain Schenker's project through reading his key works within a series of period contexts. These include music criticism, the field in which Schenker first made his name; Viennese modernism, particularly the debate over architectural ornamentation; German cultural conservatism, which is the source of many of Schenker's most deeply entrenched values; and Schenker's own position as a Galician Jew who came to Vienna just as fully racialized anti-semitism was developing there. As well as presenting an unfamiliar perspective on the cultural and political ferment of fin-de-si?cle Vienna, this book reveals how deeply Schenker's theory is permeated by the social and political. It also raises issues concerning the meaning and value of music theory, and the extent to which today's music-theoretical agenda unwittingly reflects the values and concerns of a very different world.
The Musical Thought and Spiritual Lives of Heinrich Schenker and Arnold Schoenberg by Matthew Arndt Pdf
This book examines the origin, content, and development of the musical thought of Heinrich Schenker and Arnold Schoenberg. One of the premises is that Schenker’s and Schoenberg’s inner musical lives are inseparable from their inner spiritual lives. Curiously, Schenker and Schoenberg start out in much the same musical-spiritual place, yet musically they split while spiritually they grow closer. The reception of Schenker’s and Schoenberg’s work has sidestepped this paradox of commonality and conflict, instead choosing to universalize and amplify their conflict. Bringing to light a trove of unpublished material, Arndt argues that Schenker’s and Schoenberg’s conflict is a reflection of tensions within their musical and spiritual ideas. They share a particular conception of the tone as an ideal sound realized in the spiritual eye of the genius. The tensions inherent in this largely psychological and material notion of the tone and this largely metaphysical notion of the genius shape both their musical divergence on the logical (technical) level in theory and composition, including their advocacy of the Ursatz versus twelvetone composition, and their spiritual convergence, including their embrace of Judaism. These findings shed new light on the musical and philosophical worlds of Schenker and Schoenberg and on the profound artistic and spiritual questions with which they grapple.
This book consists of over 1,500 citations to both primary sources and the burgeoning secondary literature of Heinrich Schenker, annotated and subdivided by category. The citations are supplemented with indices cross-referencing entries according to individual works and analytical topic.
Department of Music Queens College and Graduate School Carl Schachter Distinguished University Professor Emeritus, City University of New York
Author : Department of Music Queens College and Graduate School Carl Schachter Distinguished University Professor Emeritus, City University of New York Publisher : Oxford University Press, USA Page : 306 pages File Size : 41,8 Mb Release : 1998-12-04 Category : Music ISBN : 9780198029083
Unfoldings : Essays in Schenkerian Theory and Analysis by Department of Music Queens College and Graduate School Carl Schachter Distinguished University Professor Emeritus, City University of New York Pdf
Carl Schachter is, by common consent, one of the three or four most important music theorists currently at work in North America. He is the preeminent practitioner in the world of the Schenkerian approach to the music of the eighteenth and nineteenth centuries, which focuses on the linear organization of music and now dominates discussions of the standard repertoire in university courses and in professional journals. His articles have appeared in a variety of journals, including some that are obscure or hard to obtain. This volume gathers some of his finest essays, including those on rhythm in tonal music, Schenkerian theory, and text setting, as well as a pair of analytical monographs, on Bach's Fugue in B-flat major from Volume 1 of the Well-Tempered Clavier and Chopin's Fantasy, Op. 49.
The Musical Language of Italian Opera, 1813-1859 by William Rothstein Pdf
Though studying opera often requires attention to aesthetics, libretti, staging, singers, compositional history, and performance history, the music itself is central. This book examines operatic music by five Italian composers--Rossini, Bellini, Mercadante, Donizetti, and Verdi--and one non-Italian, Meyerbeer, during the period from Rossini's first international successes to Italian unification. Detailed analyses of form, rhythm, melody, and harmony reveal concepts of musical structure different from those usually discussed by music theorists, calling into question the notion of a common practice. Taking an eclectic analytical approach, author William Rothstein uses ideas originating in several centuries, from the sixteenth to the twenty-first, to argue that operatic music can be heard not only as passionate vocality but also in terms of musical forms, pitch structures, and rhythmic patterns--that is, as carefully crafted music worth theoretical attention. Although no single theory accounts for everything, Rothstein's analysis shows how certain recurring principles define a distinctively Italian practice, one that left its mark on the German repertoire more familiar to music theorists.
These eleven essays lay a foundation for a proper understanding of Shostakovich's musical language and provide new insights into issues surrounding his composition.
The Gift of Difference by Chris K. Huebner,Tripp York Pdf
When the Radical Reformers demanded the separation of church and state, it was not to privatize their convictions or depoliticize the church, but rather an attempt to recognize Jesus as Lord over all. The theological movement known as Radical Orthodoxy is currently rethinking theology's influence by secular modernity, thereby making a bold critique of contemporary Christianity. It should not be surprising that Anabaptist theologians have found theological kinship with Radical Orthodoxy. Taking their cues from John Howard Yoder, Henri de Lubac, Jacques Derrida, Stanley Cavell, Hans Urs von Balthasar, Stanley Hauerwas, and others, writers in this volume engage Radical Orthodoxy on topics such as ecclesiology, martyrdom, worship, oath-taking, peace and violence. (Amazon).
Included here are all of Pound's concert reviews and statements; the biweekly columns written under the pen name William Atheling for The New Age in London; articles from other periodicals; the complete text of the 1924 landmark volume Antheil and the Treatise on Harmony; extracts from books and letters, and the poet's additional writings on the subject of music. The pieces are organized chronologically, with illuminating commentary, thorough footnotes, and an index. Three appendixes complete this comprehensive volume; an analysis of Pound's theories of "absolute rhythm" and "Great Bass;" a glossary of important musical personalities mentioned in the text and the composer George Antheil's 1924 appreciation, "Why a Poet Quit the Muses."
