Schenker's argument and the claims of music theory:
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...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Cambridge
Cambridge University Press
1996
|
| Schriftenreihe: | Cambridge studies in music theory and analysis
9 |
| Schlagworte: | |
| Online-Zugang: | BSB01 UBG01 URL des Erstveröffentlichers |
| Zusammenfassung: | 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 |
| Beschreibung: | Title from publisher's bibliographic system (viewed on 05 Oct 2015) |
| Beschreibung: | 1 online resource (xx, 152 pages) |
| ISBN: | 9780511586149 |
| DOI: | 10.1017/CBO9780511586149 |
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| 505 | 8 | |a Foreword / Ian Bent -- I. The appeal to psychology. A new program for music theory. The psychologistic argument. The contrapuntal laboratory. An epistemological crisis and a plausible solution. A descriptive and analytic psychology -- II. The historiological imperative. The authority of history. The improvisational imagination, editing, execution. The interior performance. The paleographic argument. The philological paradigm -- III. The objective synthesis. The coordination of discourses. System and synthesis. Closure. Representation. A priori and a posteriori theories. Two polemics. The function of ideology | |
| 520 | |a 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 | ||
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Datensatz im Suchindex
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|---|---|
| any_adam_object | |
| author | Blasius, Leslie David 1955- |
| author_GND | (DE-588)173019501 |
| author_facet | Blasius, Leslie David 1955- |
| author_role | aut |
| author_sort | Blasius, Leslie David 1955- |
| author_variant | l d b ld ldb |
| building | Verbundindex |
| bvnumber | BV043921467 |
| classification_rvk | LR 55520 |
| collection | ZDB-20-CBO |
| contents | Foreword / Ian Bent -- I. The appeal to psychology. A new program for music theory. The psychologistic argument. The contrapuntal laboratory. An epistemological crisis and a plausible solution. A descriptive and analytic psychology -- II. The historiological imperative. The authority of history. The improvisational imagination, editing, execution. The interior performance. The paleographic argument. The philological paradigm -- III. The objective synthesis. The coordination of discourses. System and synthesis. Closure. Representation. A priori and a posteriori theories. Two polemics. The function of ideology |
| ctrlnum | (ZDB-20-CBO)CR9780511586149 (OCoLC)992826652 (DE-599)BVBBV043921467 |
| dewey-full | 781 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 781 - General principles and musical forms |
| dewey-raw | 781 |
| dewey-search | 781 |
| dewey-sort | 3781 |
| dewey-tens | 780 - Music |
| discipline | Musikwissenschaft |
| doi_str_mv | 10.1017/CBO9780511586149 |
| format | Electronic eBook |
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| id | DE-604.BV043921467 |
| illustrated | Not Illustrated |
| indexdate | 2024-07-10T07:38:37Z |
| institution | BVB |
| isbn | 9780511586149 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-029330550 |
| oclc_num | 992826652 |
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| physical | 1 online resource (xx, 152 pages) |
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| publishDate | 1996 |
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| publisher | Cambridge University Press |
| record_format | marc |
| series2 | Cambridge studies in music theory and analysis |
| spelling | Blasius, Leslie David 1955- Verfasser (DE-588)173019501 aut Schenker's argument and the claims of music theory Leslie David Blasius Schenker's Argument & the Claims of Music Theory Cambridge Cambridge University Press 1996 1 online resource (xx, 152 pages) txt rdacontent c rdamedia cr rdacarrier Cambridge studies in music theory and analysis 9 Title from publisher's bibliographic system (viewed on 05 Oct 2015) Foreword / Ian Bent -- I. The appeal to psychology. A new program for music theory. The psychologistic argument. The contrapuntal laboratory. An epistemological crisis and a plausible solution. A descriptive and analytic psychology -- II. The historiological imperative. The authority of history. The improvisational imagination, editing, execution. The interior performance. The paleographic argument. The philological paradigm -- III. The objective synthesis. The coordination of discourses. System and synthesis. Closure. Representation. A priori and a posteriori theories. Two polemics. The function of ideology 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 Schenker, Heinrich 1868-1935 (DE-588)118607154 gnd rswk-swf Schenkerian analysis Musiktheorie (DE-588)4040876-0 gnd rswk-swf Erfahrungswissenschaften (DE-588)4152728-8 gnd rswk-swf Schenker, Heinrich 1868-1935 (DE-588)118607154 p Musiktheorie (DE-588)4040876-0 s Erfahrungswissenschaften (DE-588)4152728-8 s 1\p DE-604 Erscheint auch als Druckausgabe 978-0-521-03009-0 Erscheint auch als Druckausgabe 978-0-521-55085-7 https://doi.org/10.1017/CBO9780511586149 Verlag URL des Erstveröffentlichers Volltext 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | Blasius, Leslie David 1955- Schenker's argument and the claims of music theory Foreword / Ian Bent -- I. The appeal to psychology. A new program for music theory. The psychologistic argument. The contrapuntal laboratory. An epistemological crisis and a plausible solution. A descriptive and analytic psychology -- II. The historiological imperative. The authority of history. The improvisational imagination, editing, execution. The interior performance. The paleographic argument. The philological paradigm -- III. The objective synthesis. The coordination of discourses. System and synthesis. Closure. Representation. A priori and a posteriori theories. Two polemics. The function of ideology Schenker, Heinrich 1868-1935 (DE-588)118607154 gnd Schenkerian analysis Musiktheorie (DE-588)4040876-0 gnd Erfahrungswissenschaften (DE-588)4152728-8 gnd |
| subject_GND | (DE-588)118607154 (DE-588)4040876-0 (DE-588)4152728-8 |
| title | Schenker's argument and the claims of music theory |
| title_alt | Schenker's Argument & the Claims of Music Theory |
| title_auth | Schenker's argument and the claims of music theory |
| title_exact_search | Schenker's argument and the claims of music theory |
| title_full | Schenker's argument and the claims of music theory Leslie David Blasius |
| title_fullStr | Schenker's argument and the claims of music theory Leslie David Blasius |
| title_full_unstemmed | Schenker's argument and the claims of music theory Leslie David Blasius |
| title_short | Schenker's argument and the claims of music theory |
| title_sort | schenker s argument and the claims of music theory |
| topic | Schenker, Heinrich 1868-1935 (DE-588)118607154 gnd Schenkerian analysis Musiktheorie (DE-588)4040876-0 gnd Erfahrungswissenschaften (DE-588)4152728-8 gnd |
| topic_facet | Schenker, Heinrich 1868-1935 Schenkerian analysis Musiktheorie Erfahrungswissenschaften |
| url | https://doi.org/10.1017/CBO9780511586149 |
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