Becoming Heinrich Schenker: music theory and ideology
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 fundamental...
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Cambridge
Cambridge Univ. Press
2014
|
| Ausgabe: | 1. publ. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | 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 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. (Klappentext) |
| Beschreibung: | Literaturverz. S. 264 - 271 |
| Beschreibung: | XX, 275 S. Notenbeisp. 26 cm |
| ISBN: | 9781107067691 |
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| 520 | |a 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 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. (Klappentext) | ||
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Datensatz im Suchindex
| _version_ | 1804152487753547776 |
|---|---|
| adam_text | Contents
Ust
of music examples [page
vi]
Acknowledgements [x]
Preface
[xiii]
PART I THEORY
[1]
1
Introduction
[3]
2
Schenker s final theory
[14]
PART II DEVELOPMENT
[39]
3 Der Geist der musikalischen
Technik
[41]
4 Die Harmonielehre [60]
5 Kontrapunkt
I
and
II
[77]
6
The monographs
[98]
7 Der Tonwille and Das Meisterwerk in der Musik [117]
8 Der freie Satz [156]
PART III RECONSIDERATION
[181]
9
Critical assessment: ideology
[183]
10
Critical assessment: theory
[204]
11
Conclusion
[219]
German originals
[230]
Works cited
[264]
Index
[272]
Music examples
2.1
The three forms of the Ursatz [page
17]
2.2
Two forms of a fifth-Zug in
С
major
[20]
2.3
A
С
-major
Urlinie with
4,
temporarily converted into a
consonance, as endtone of a fifth-Zug
[21]
2.4
A linear third as initial ascent to the first tone of an
Ursatz
[22]
2.5
Reaching over and reaching under
[22]
2.6
Two forms of unfolding, both also with linear
progressions
[22]
2.7
Two voice exchanges, the second with a linear
progression
[22]
2.8
С
-major
Zug
with mixture
[23]
2.9
С
-major
Urlinie with linear progressions from
5
and
2 [23]
2.10
Auxiliary cadence with an incomplete transference
[23]
2.11
Arpeggiation on ii in
С
major as part of transferred
Ursatz
[24]
2.12
Dividers on fifth degree and third degree
[24]
2.13
Two initial ascents by arpeggiation, the second with a
linear progression
[25]
2.14
Interrupted Ursatz with Urlinie on
5 [26]
2.15
Coupling with interrupted Ursatz and linear
progression
[27]
2.16
Stufe
as representation of a larger harmonic progression
[28]
2.17
J. S
Bach: Prelude no.
1
in
С
major, graph
(Schenker
1932/
1969b, pp.
36-37) [34]
4.1
Harmonic system generated from C, plus
subdominant
(Schenker
1906/1954,
example
39/34,
p.
54/39) [63]
4.2
Diatonic harmonic system in scalar form from
С
(Schenker
1906/1954,
example
40/35,
p.
55/41) [63]
4-3
Contrapuntal relationships in strict vs free composition
(Schenker
1906/1954,
diagram, p.
204,
German edition
only)
[69]
List of music examples
vii
4.4(a) J. S. Bach, C-minor organ prelude and fugue
(Schenker
1906/
1954,
example
154/120,
p.
188/145) [74]
4.4(b) Chopin, Prelude, op.
28
no.
4
(Schenker
1906/1954,
example
158/124,
p.
192/148) [75]
4.5(a), (b) (a) J. S. Bach,
Е
-minor
organ prelude; (b) Contrapuntal
reduction
(Schenker
1906/1954,
examples
148, 149/114,
115,
p.
185/142-43) [75]
5.1
Handel:
G-major chaconne,
variation II
(Schenker 1910a/
1987,
example
357,
p.
314/241) [84]
5.2
Implied tones in Handel
G-major chaconne,
variation II
(Schenker
19103/1987,
example
358,
p.
314/241) [84]
5.3
Handel: Suites
de pièces
no.
1,
Air with variations, variation
I
(Schenker
19108/1987,
example
48,
p.
86/59) [85]
5.4
Handel: Suites
de pièces,
no.
1,
Air with variations, variation
I: reduction with implied tone
(Schenker
19103/1987,
example
49
p.
86/59) [85]
5.5(a), (b) (a) J. S. Bach: English Suite no.
6:
prelude; (b) Reduction
(Schenker
19103/1987,
example
76,
p.
101/71) [86]
5.6(a) Strauss:
Ein Heldenleben,
op.
40;
(b)
Reduction
(Schenker
19103/1987,
examples
65
and
66,
p.
95/66) [86]
5.7
Mozart: Symphony no.
36,
1, end of development
(Schenker
19103/1987,
example
200,
p.
204/148) [87]
5.8
Mozart: Symphony no.
36,
1, layered reduction
(Schenker
(19103/1987),
example
201,
p.
205/149) [88]
5.9
J. S.
Bach: English Suite no.
6,
prelude: linear reduction
(Schenker
19108/1987,
example
120,
p.
136/96) [90]
5.10(a), (b) Fux: strict-counterpoint exercises
(Schenker
1922/1987,
examples
334
and
335,
p.
214/219) [94]
5.11
(a), (b) Fux: exercises with whole-note voice deleted
(Schenker
1922/1987,
example
395,
p.
259/269) [95]
6.1
J. S. Bach, Chromatic Fantasy and Fugue: reduction of
fugue subject
(Schenker
19
10b/
1984,
example
33,
p.
32/45) [108]
6.2
Beethoven: Piano
Sonats,
op.
110,
1: harmonic reduction of
mm.
12-19
(Schenker
1914,
figure
7,
p.
21) [108]
6.3
Beethoven: Piano Sonata, op.
110,
III, recitative: linear
reduction
(Schenker
1914/19723,
figure
74,
p.
62) [109]
6.4
Beethoven: Piano Sonata, op.
110,
II: reduction of mm.
41-72
(Schenker
1914/19728,
figure
70,
p.
56) [110]
viii
List of music examples
6.5
Beethoven: Piano Sonata, op.
110,
II: reduction of top-voice
figuration, mm.
41-48
(Schenker
1914/19728,
figure
64,
p.
54)
[111]
6.6
Beethoven: Piano Sonata, op.
101,
II: reduction of mm.
11-37
(Schenker
1921/1972D, figure
29,
pp.
37-38) [113]
7.1
J. S. Bach: Little Prelude no.
5:
reduction
(Schenker
1921-24/
2004-05,
issue
5,
figure
1,
p.
8/180.2) [122]
7.2
Chord
ornature
transformations
(Schenker
1921-24/
2004-05,
issue
8/9,
figures
1, 2, 3,
p.
49/117.1) [124]
7.3(a), (b) Passing-tone and arpeggiation conversions
(Schenker
1921-24/2004-05,
issue
8/9,
figures 4c and
7,
pp.
49-50/117.2) [125]
7.4
Beethoven: Piano Sonata, op.
10
no.
1:
reduction of mm.
1-21
(Schenker
1925/1994,
figure
2,
pp.
189-90/106.1) [128]
7.5
Haydn: Piano Sonata in C, Hob. XVI:48, IV, mm.
123-29
(Schenker
1925/1994,
figure
7,
p.
124/108.2) [129]
7.6
Chopin: Berceuse, op.
57:
reduction of mm.
1-5
(Schenker
1926/1996,
figure
2,
p.
13/2.2) [131]
7.7
Chopin: Nocturne, op.
9
no.
2:
reduction
(Schenker
1926/
1996,
figure
8,
p.
17/5.1) [132]
7.8
Elaborations of bass arpeggiation
(Schenker
1926/1996,
figure
14,
p.
21/8.1) [133]
7.9
J. S. Bach: B-flat-minor fugue from The Well-Tempered
Clavier I, mm.
55-63
and reduction
(Schenker
1926/1996,
figure
29,
p.
33/14.2) [134]
7.10
С
P. E. Bach: C-major Piano Sonata, I: Urlinie-Tafel
(Schenker
1921-24/2004-05,
issue
4,
Beilage/150-51)
[139]
7.11
С
P. E. Bach:
С
-major
Piano Sonata, I: reduction of mm.
44-51
(Schenker
1921-24/2004-05,
issue
4,
figure
1,
p.
37/152.2) [141]
7.12
Mendelssohn: Lied
ohne Worte,
op.
67
no.
6:
reduction
(Schenker
1921-24/2004-05,
issue
10,
figure
1,
p.
30/150.1) [142]
7.13
Mozart: Piano Sonata
К
310,
1: reduction of development
(Schenker
1921-24/2004-05,
issue
2,
figure
1,
p.
10/57.2) [143]
7.14
Beethoven: Symphony no.
5,
II: reduction of mm.
123-76
(Schenker
1921-24/2004-05,
issue
5,
figure
6,
p.
37/205.2) [144]
List of music examples
ix
7.15
Mozart: Symphony no.
40
in
G
minor, I: middleground
analysis of development section
(Schenker
1926/1996,
figure Id, fragment, Anhang/60-61)
[148]
7.16
Beethoven: Symphony no.
3:
middleground analysis of
scherzo, first half
(Schenker
1930/1997,
figure
33,
Anhang/42-43)
[150]
8.1
Beethoven: Piano Sonata, op.
10
no.
3,
II: analysis
(Schenker
1935/1979,
example
39.2,
p.
13) [166]
|
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| contents | Schenker's final theory -- Der Geist der musikalischen Technik -- Die Harmonielehre -- Kontrapunkt I and II -- The monographs -- Der Tonwille and Das Meisterwerk in der Musik -- Der Freie Satz -- Critical assessment : ideology -- Critical assessment : theory |
| ctrlnum | (OCoLC)889990254 (DE-599)BSZ412961644 |
| discipline | Musikwissenschaft |
| edition | 1. publ. |
| format | Book |
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| id | DE-604.BV042053524 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T01:11:30Z |
| institution | BVB |
| isbn | 9781107067691 |
| language | English |
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| publisher | Cambridge Univ. Press |
| record_format | marc |
| spelling | Morgan, Robert P. Verfasser (DE-588)129907847 aut Becoming Heinrich Schenker music theory and ideology Robert P. Morgan 1. publ. Cambridge Cambridge Univ. Press 2014 XX, 275 S. Notenbeisp. 26 cm txt rdacontent n rdamedia nc rdacarrier Literaturverz. S. 264 - 271 Schenker's final theory -- Der Geist der musikalischen Technik -- Die Harmonielehre -- Kontrapunkt I and II -- The monographs -- Der Tonwille and Das Meisterwerk in der Musik -- Der Freie Satz -- Critical assessment : ideology -- Critical assessment : theory 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 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. (Klappentext) Schenker, Heinrich 1868-1935 (DE-588)118607154 gnd rswk-swf Musiktheorie (DE-588)4040876-0 gnd rswk-swf Schenker, Heinrich 1868-1935 (DE-588)118607154 p Musiktheorie (DE-588)4040876-0 s DE-604 Digitalisierung BSB Muenchen - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027494563&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Morgan, Robert P. Becoming Heinrich Schenker music theory and ideology Schenker's final theory -- Der Geist der musikalischen Technik -- Die Harmonielehre -- Kontrapunkt I and II -- The monographs -- Der Tonwille and Das Meisterwerk in der Musik -- Der Freie Satz -- Critical assessment : ideology -- Critical assessment : theory Schenker, Heinrich 1868-1935 (DE-588)118607154 gnd Musiktheorie (DE-588)4040876-0 gnd |
| subject_GND | (DE-588)118607154 (DE-588)4040876-0 |
| title | Becoming Heinrich Schenker music theory and ideology |
| title_auth | Becoming Heinrich Schenker music theory and ideology |
| title_exact_search | Becoming Heinrich Schenker music theory and ideology |
| title_full | Becoming Heinrich Schenker music theory and ideology Robert P. Morgan |
| title_fullStr | Becoming Heinrich Schenker music theory and ideology Robert P. Morgan |
| title_full_unstemmed | Becoming Heinrich Schenker music theory and ideology Robert P. Morgan |
| title_short | Becoming Heinrich Schenker |
| title_sort | becoming heinrich schenker music theory and ideology |
| title_sub | music theory and ideology |
| topic | Schenker, Heinrich 1868-1935 (DE-588)118607154 gnd Musiktheorie (DE-588)4040876-0 gnd |
| topic_facet | Schenker, Heinrich 1868-1935 Musiktheorie |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027494563&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT morganrobertp becomingheinrichschenkermusictheoryandideology |