Schenkerian analysis - Knowledge (XXG)

519:. From 1925 onwards, he complemented these with other levels of representation, corresponding to the successive steps leading to the fundamental structure. At first, he mainly relied on the size of the note shapes to denote their hierarchic level, but later abandoned this system as it proved too complex for contemporary techniques of musical engraving. Allen Cadwallader and David Gagné propose a description of Schenker's system of graphic notation which, they say, "is flexible, enabling musicians to express in subtle (and sometimes different) ways what they hear and how they interpret a composition". They discuss open noteheads, usually indicating the highest structural level, and filled-in noteheads for tones of lower levels; slurs, grouping tones in an arpeggio or in linear motions with passing or neighbor tones; beams, for linear motions of higher structural level or for the arpeggiation of the bass; broken ties, for repeated or sustained tones; diagonal lines to realign displaced notes; diagonal beams, connecting successive notes that belong to the same chord ("unfolding"); etc. 462:, claimed that "the presentation in graphic form has now been developed to a point that makes an explanatory text unnecessary". Even so, Schenkerian graphs represent a change of semiotic system, a shift from music itself to its graphical representation, akin to the more usual change from music to verbal (analytic) commentary; but this shift already exists in the score itself, and Schenker rightly noted the analogy between music notation and analysis. One aspect of graphic analyses that may not have been enough stressed is the desire to abolish time, to represent the musical work as something that could be apprehended at a glance or, at least, in a way that would replace a "linear" reading by a "tabular" one. 194:(scale degree, scale-step), i.e. a chord having gained structural significance. Chords arise from within chords, as the result of the combination of passing notes and arpeggiations: they are at first mere embellishments, mere voice-leading constructions, but they become tonal spaces open for further elaboration and, once elaborated, can be considered structurally significant: they become scale-steps properly speaking. Schenker recognizes that "there are no rules which could be laid down once and for all" for recognizing scale-steps, but from his examples one may deduce that a triad cannot be recognized as a scale-step as long as it can be explained by passing or neighboring voice-leading. 674:) is the stepwise filling of some consonant interval. It usually is underlined in graphic analyses with a slur from the first note of the progression to the last. The most elementary linear progressions are determined by the tonal space that they elaborate: they span from the prime to the third, from the third to the fifth or from the fifth to the octave of the triad, in ascending or descending direction. Schenker writes: "there are no other tonal spaces than those of 1–3, 3–5, and 5–8. There is no origin for passing-tone- progressions, or for melody" Linear progressions, in other words, may be either third progressions ( 370:, the "fundamental line", as a kind of motivic line characterized by its fluency, repeated under different guises throughout the work and ensuring its homogeneity. He later imagined that a musical work should have only one fundamental line, unifying it from beginning to end. The realization that such fundamental lines usually were descending led him to formulate the canonical definition of the fundamental line as necessarily descending. It is not that he rejected ascending lines, but that he came to consider them hierarchically less important. "The fundamental line begins with 1319:

their system ... In reality music serves only to furnish grist for the mill of their insatiable theoretical mind, not for their heart or imagination. There is no art, no poetry, in this remarkable system which deals with the raw materials of music with a virtuoso hand. Schenker and his disciples play with music as others play chess, not even suspecting what fantasy, what sentimental whirlpools lie at the bottom of every composition. They see lines only, no colors, and their ideas are cold and orderly. But music is color and warmth, which are the values of a concrete art.

4523: 2709:, A. Cadwallader ed., New York, Schirmer, 1990, pp. 87–113. Rothstein's idea is that ornamentations such as retardations or syncopations result from displacements with respect to a "normal" rhythm; other diminutions (e.g. neighbor notes) also displace the tones that they ornate and usually shorten them. Removing these displacements and restoring the shortened note values operates a "rhythmic normalization" that "reflects an unconscious process used by every experienced listener" (p. 109). 1171:, before it reaches its goal. As a result, the bass arpeggiation itself is also interrupted at the divider at the fifth (V). Both the fundamental line and the bass arpeggiation are bound to return to their starting point and the fundamental structure repeats itself, eventually reaching its goal. The interruption is the main form-generating elaboration: it often is used in binary forms (when the first part ends on the dominant) or, if the elaboration of the "dividing dominant", 1142:

of lower rank than I and V, notated as half notes. Here there is an unexpected link between Schenkerian theory and Riemann's theory of tonal functions, a fact that might explain Schenker's reluctance to be more explicit about it. In modern Schenkerian analysis, the chord of IV or II is often dubbed the "predominant" chord, as the chord that prepares the dominant one, and the progression may be labelled "T–P–D–T", for tonic–predominant–dominant–tonic.

651:), ornamenting one single note of the triad by being adjacent to it. These are sometimes referred to generically as "adjacencies"; 2) passing notes, which pass by means of stepwise motion from one note to another and fill the space in between, and are thus sometimes referred to as "connectives". Both neighbor notes and passing notes are dissonances. They may be made consonant by their coinciding with other notes (as in the 449:

It would appear that the difference between the divider at the fifth and the dominant chord properly speaking really depends on the level at which the matter is considered: the notion of the divider at the fifth views it as an elaboration of the initial tonal space, while the notion of dominant chord conceives it as a new tonal space created within the first. But the opinions of modern Schenkerians diverge on this point.

279: 3674:. A thorough documentation of Schenker-related research and analysis. The largest Schenkerian reference work ever published, it has 3600 entries (2200 principal, 1400 secondary) representing the work of 1475 authors. It is organized topically: fifteen broad groupings encompass seventy topical headings, many of which are divided and subdivided again, resulting in a total of 271 headings under which entries are collected. 466: 2768:, Appendix, Introduction to Graphic Notation, pp. 384-402: "We discuss the symbols in the following categories, which are not mutually exclusive: 1. Open noteheads ; 2. Slurs and filled-in noteheads ; 3. Beams ; 4. Broken ties ; 5. Stem with flags ; 6. Diagonal lines ; 7. Diagonal lines and beams ; 8. Rhytmic notation at lower levels ; 9. Roman numerals " They conclude with sample graphic analyses for study 503:

simplified notation of some Baroque works, e.g. the Prelude to Händel's Suite in A major, HWV 426, or early versions of Bach's C major Prelude of Book I of the Well Tempered Keyboard. One indirect advantage of rhythmic reduction is that it helps reading the voice leading: Czerny's example hereby transforms Chopin's arpeggios into a composition in four (or five) voices. Edward Aldwell and

332:, the "arpeggiation of the bass". The fundamental structure is a two-voice counterpoint and as such belongs to strict composition. In conformity with the theory of the tonal space, the fundamental line is a line starting from any note of the triad and descending to the tonic itself. The arpeggiation is an arpeggiation through the fifth, ascending from I to V and descending back to I. The 1175: 1167: 1099: 1091: 1075: 1067: 1059: 1051: 1043: 1035: 444: 409: 401: 391: 382: 374: 304: 297: 290: 969:). Register transfers are particularly striking in piano music (and that for other keyboard instruments), where contrasts of register (and the distance between the two hands) may have a striking, quasi orchestral effect. "Coupling" is when the transferred parts retain a link with their original register. The work, in this case, appears to unfold in two registers in parallel. 918: 769: 3278:, New York, Alfred Knopf, 1945. The book is divided in nine chapters, the first describing "The Concept of Tonality", the eight following devoted to J. S. Bach, Ph. E. Bach, Haydn, Beethoven, Wagner, Debussy, Stravinsky and Schoenberg respectively. On Adele Katz, see David Carson Berry, "The Role of Adele T. Katz in the Early Expansion of the New York 'Schenker School,'" 626: 549: 596: 1200:

fundamental structure. Many classical themes (e.g. the theme to the set of variations in Mozart's K. 331 piano sonata) form self-contained structure of this type. This resemblance of local middleground structures to background structures is part of the beauty and appeal of Schenkerian analysis, giving it the appearance of a recursive construction.

1121: 1276:, in 1945, in which she applied Schenkerian analytical concepts not only to some of Schenker's favorite composers, Johann Sebastian and Philipp Emmanuel Bach, Haydn and Beethoven, but also to Wagner, Debussy, Stravinsky and Schoenberg: this certainly represents one of the earliest attempts to widen the corpus of Schenkerian analysis. 613:

be considered organicist. The example shown here may at first be considered a mere elaboration of an F major chord, an arpeggiation in three voices, with passing notes (shown here in black notes without stem) in the two higher voices: it is an exemplification of the tonal space of F major. The chord labelled (V) at first merely is a "

2295:, pp. xxi–xxii. The steps of this plan are: "Instruction in strict writing (according to Fux-Schenker), in thorough-bass (according to J.S. and C.P.E. Bach) and in free writing (according to Schenker), that finally combines all studies and places them in the service of the law of organic coherence as it reveals itself in the 1018:) or an initial arpeggiation, which may take more extension than the descending fundamental line itself. This results in melodies in arch form. Schenker decided only in 1930 that the fundamental line should be descending: in his earlier analyses, initial ascending lines often are described as being part of the 1292:(which he admits is not yet available in the US) and concludes that "It is precisely when Schenker's teachings leave the domain of exact description and enter that of dogmatic and speculative analysis that they become essentially sterile". The most raging attack against Schenker came in the "Editorial" that 41:. This primal structure is roughly the same for any tonal work, but a Schenkerian analysis shows how, in each individual case, that structure develops into a unique work at the foreground. A key theoretical concept is "tonal space". The intervals between the notes of the tonic triad in the background form a 1141:

properly speaking is complete if it does not include IV or II at the background level. Schenker uses a special sign to denote this situation, the double curve shown in the example hereby, crossing the slur that links IV (or II) to V. That IV (here, F) is written as a quarter note indicates that it is

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Any attempt to derive even as much as the first foundation of this system, i.e., the minor triad itself, from Nature, i.e., from the overtone series, would be more than futile. ... The explanation becomes much easier if artistic intention rather than Nature herself is credited with the origin of the

152:

Because the first principle of the elaboration is the filling in of the tonal space by passing notes, an essential goal of the analysis is to show linear connections between notes which, filling a single triad at a given level, remain closely related to each other but which, at subsequent levels, may

67:

Schenkerian analysis is an abstract, complex, and difficult method, not always clearly expressed by Schenker himself and not always clearly understood. It mainly aims to reveal the internal coherence of the work – a coherence that ultimately resides in its being tonal. In some respects, a Schenkerian

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with the passing notes may also be understood as producing a dominant chord, V, arising from within the tonic chord I. This is the situation found at the beginning of Haydn's Sonata in F major, Hob. XVI:29, where the (incomplete) dominant chord appears at the very end of bar 3, while the rest of the

612:

One aspect of Schenkerian analysis is that it does not view the work as built from a succession of events, but as the growth of new events from within events of higher level, much as a tree develops twigs from its branches and branches from its trunk: it is in this sense that Schenkerian theory must

1240:

World War II brought European studies to a halt. Schenker's publications were placed under Nazi ban and some were confiscated by the Gestapo. It is in the United States that Schenkerian analysis knew its first important developments. This history has been contextualized by comments on both sides of

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Schenker himself mentioned in a letter of 1927 to his student Felix-Eberhard von Cube that his ideas continued "to be felt more widely: Edinburgh , (also New York ), Leipzig , Stuttgart , Vienna (myself and Weisse), Vrieslander in Munich , yourself in Duisburg, and Halm ." Von Cube, with Moritz

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of the fundamental line. This at first produces a mere "divider at the fifth", a complex filling in of the tonal space. However, as a consonant combination, it defines at a further level a new tonal space, that of the dominant chord, and so doing opens the path for further developments of the work.

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The theory of the fundamental structure is the most criticized aspect of Schenkerian theory: it has seemed unacceptable to reduce all tonal works to one of a few almost identical background structures. This is a misunderstanding: Schenkerian analysis is not about demonstrating that all compositions

2439:, vol. I, p. 12: "In the present day, when it is necessary to distinguish clearly between composition and that preliminary school represented by strict counterpoint, we must use the eternally valid of those rules for strict counterpoint, even if we no longer view them as applicable to composition". 1318:

Schenker's and his disciples' musical theory and philosophy is not art, its whole outlook – at least as expressed in their writings – lacks feeling. There was seldom a colder spirit than theirs; the only warmth one feels is the warmth of dogmatism. Music interests them only insofar as it fits into

646:

Arpeggiation is the simplest form of elaboration. It delimits a tonal space for elaboration, but lacks the melodic dimension that would allow further developments: it "remains a harmonic phenomenon". From the very structure of triads (chords), it follows that arpeggiations remain disjunct and that

502:

The first step of the analytic rewriting often takes the form of a "rhythmic" reduction, that is one that preserves the score, but "normalizes" its rhythm and its voice-leading content. This type of reduction has a long tradition, not only in counterpoint treatises or theory books, but also in the

809:

Passing tones filling the intervals of a chord may be considered forming lines between the voices of this chord. At the same time, if the chord tones themselves are involved in lines from one chord to another (as usually is the case), lines of lower level unfurl between lines of higher level. The

252:, even in free composition. It avoids successive leaps and produces "a kind of wave-like melodic line which as a whole represents an animated entity, and which, with its ascending and descending curves, appears balanced in all its individual component parts". This idea is at the origin of that of 1199:

The forms of the fundamental structure may be repeated at any level of the work. "Every transferred form has the effect of a self-contained structure within which the upper and lower voices delimit a single tonal space". That is to say that any phrase in a work could take the form of a complete

682:); larger progressions result from a combination of these. Linear progressions may be incomplete (deceptive) when one of their tones is replaced by another, but nevertheless suggested by the harmony. In the example below, the first bars of Beethoven's Sonata Op. 109, the bass line descends from E 590:, replacing the total duration of the elaborated event by shorter events in larger number. By this, notes are displaced both in pitch and in rhythmic position. The analysis to some extent aims at restoring displaced notes to their "normal" position and explaining how and why they were displaced. 457:

Graphic representations form an important part of Schenkerian analyses: "the use of music notation to represent musical relationships is a unique feature of Schenker's work". Schenkerian graphs are based on a "hierarchic" notation, where the size of the notes, their rhythmic values and/or other

1257:

George Wedge taught some of Schenker's ideas as early as 1925 in the Institute of Musical Arts, New York. Victor Vaughn Lytle, who had studied with Hans Weisse in Vienna, wrote what may be the earliest English-language essay dealing with Schenkerian concepts, "Music Composition of the Present"

765:, and the tenor voice alternatively doubles the soprano and the bass, as indicated by the dotted slurs. It is the bass line that governs the passage as a whole: it is the "leading progression", on which all the other voices depend and which best expresses the elaboration of the E major chord. 1111:

This is the complete arpeggiation of the triad. Once elaborated, it may consist in a succession of three tonalities, especially in pieces in minor. In these cases, III stands for a tonicisation of the major relative. This often occurs in Sonata forms in minor, where the first thematic group

948:

In his later writings (from 1930 onwards), Schenker sometimes used a special sign to denote the unfolding, an oblique beam connecting notes of the different voices that are conceptually simultaneous, even if they are presented in succession in the single line performing the unfolding.

1030:

Schenker stresses that the head note of the fundamental line often is decorated by a neighbor note "of the first order", which must be an upper neighbor because "the lower neighboring note would give the impression of the interruption". The neighbor note of the first order is

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remains for Schenker the model of strict writing. Free composition is a freer usage of the laws of strict counterpoint. One of the aims of the analysis is to trace how the work remains subject to these laws at the deepest level, despite the freedom taken at subsequent levels.

868:) is an elaboration by which several voices of a chord or of a succession of chords are combined in one single line "in such a manner that a tone of the upper voice is connected to a tone of the inner voice and then moves back, or the reverse". At the end of Schubert's 810:

most interesting case is when the lines link an inner voice to the upper voice. This may happen not only in ascending (a case usually described as a "line from an inner voice"), but also in descending, if the inner voice has been displaced above the upper line by a

220:, as the diatonic unfolding of the tonic triad, by definition cannot include modulation. Local "tonicisation" may arise when a scale-step is elaborated to the point of becoming a local tonic, but the work as a whole projects a single key and ultimately a single 1191:) the change of mode of the tonic, i.e. the replacement of its major third by the minor one, or of its minor third by the major one. The elaboration of the resulting chord may give rise to a section in minor within a work in major, or the reverse. 125:. This led him to seek the key to an understanding of music in the traditional disciplines of counterpoint and figured bass, which was central to the compositional training of these composers. Schenker's project was to show that free composition ( 983:

Voice exchange is a common device in counterpoint theory. Schenkerians view it as a means of elaborating a chord by modifying its position. Two voices exchange their notes, often with passing notes in between. At the end of the example of

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and the foreground, between the diatony and the tonality, the spatial depth of a musical work expresses itself, the distant origin in the utter simple, the transformation through subsequent stages, and the diversity in the foreground"

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The arpeggiation through the fifth is an imitation of the overtone series, adapted to man "who within his own capacities can experience sound only in a succession". The fifth of the arpeggiation coincides with the last passing note

324:(usually translated as "fundamental structure") is the name given by Schenker to the underlying structure in its simplest form, that from which the work as a whole originates. In the canonical form of the theory, it consists of the 1150:

The dominant chord may be linked to the tonic by a stepwise linear progression. In such case, one of the chords in the progression, II, III or IV, usually takes preeminence, reducing the case to one or the other described above.

2426:, Rochester, University of Rochester Press, 2005, p. 69, reproduces a chart showing that the "tonality of a given foreground can be generated from the diatony of the given background through various levels of the middleground". 655:

example above) and, once consonant, may delimit further tonal spaces open to further elaborations. Insofar as chords consist of several voices, arpeggiations and passing notes always involve passing from one voice to another.

533:

The meat of a Schenkerian analysis is in showing how a background structure expands until it results in the succession of musical events on the surface of the composition itself. Schenker refers to this process under the term

2472:, vol. I, p. 74. J. Rothgeb and J. Thym, the translators, quote Cherubini from the original French, which merely says that "conjunct motion better suits strict counterpoint than disjunct motion", but Schenker had written: 512:", stressing the link between the rhythmic reduction and a notation as a melody with figured bass. Basically, it consists in imagining a figured bass line for the work analyzed, and writing a chordal realization of it. 2206:

Im Abstand von der Urlinie zum Vordergrund, von der Diatonie zur Tonalität, drückt sich die Raumtiefe eines Musikwerkes aus, die ferne Herkunft vom Allereinfachsten, der Wandel im späteren Verlauf und der Reichtum im

177:... is transformed into a succession, a horizontal arpeggiation, which has the added advantage of lying within the range of the human voice. Thus the harmonic series is condensed, abbreviated for the purposes of art". 957:"Register transfer" is the motion of one or several voices into a different octave (i.e. into a different register). Schenker considers that music normally unfolds in one register, the "obligatory register" (Ger. 344:

can be reduced to the same background, but about showing how each work elaborates the background in a unique, individual manner, determining both its identity and its "meaning". Schenker has made this his motto:

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write that the first rewriting should "produce a setting that is reasonably close to note-against-note." Allen Cadwallader and David Gagné suggest a special type of rhythmic reduction that they call "imaginary

1287:

12 (May–June 1935) an obituary article under the title "Heinrich Schenker's Contribution" where, after having recognized some of Schenker's achievements, he criticizes the development of the last years, until

800:

Schenker describes lines covering a seventh or a ninth as "illusory", considering that they stand for a second (with a register transfer): they do not fill a tonal space, they pass from one chord to another.

1264:, 1931), without however really crediting Schenker for them. Weisse himself, who had studied with Schenker at least from 1912, immigrated to the United States and began teaching Schenkerian analysis at the 538:, literally "composing out", but more often translated as "elaboration". Modern Schenkerians usually prefer the term "prolongation", stressing that elaborations develop the events along the time axis. 181:

Linking the (major) triad to the harmonic series, Schenker merely pays lip service to an idea common in the early 20th century. He confirms that the same derivation cannot be made for the minor triad:

479: 64:

exercise. Even at intermediate levels of reduction, rhythmic signs (open and closed noteheads, beams and flags) display not rhythm but the hierarchical relationships between the pitch-events.

569: 2484:

not only appears in several 19th-century German translations of Cherubini, but is common in German counterpoint theory from the 18th century and might go back to Fux' description of the

45:

that is filled with passing and neighbour tones, producing new triads and new tonal spaces that are open for further elaborations until the "surface" of the work (the score) is reached.

248:, who would have written that "fluent melody is always preferable in strict counterpoint." Melodic fluency, the preference for conjunct (stepwise) motion, is one of the main rules of 491: 1103:

the perfect authentic cadence and is not susceptible of elaboration at the background level. The first span, I–V, on the other hand, usually is elaborated. The main cases include:

937: 789: 1333:

Schenker left about 4000 pages of printed text, of which the translations at first were astonishingly slow. Nearly all have been translated into English, and the project

48:

The analysis uses a specialized symbolic form of musical notation. Although Schenker himself usually presents his analyses in the generative direction, starting from the

56:, the practice of Schenkerian analysis more often is reductive, starting from the score and showing how it can be reduced to its fundamental structure. The graph of the 925: 777: 480: 4034:. New York: Charles Boni. "The first book to present a reorganization (as well as modification and expansion) of Schenker's writings from a pedagogical standpoint." ( 633: 557: 137:), by which he meant species counterpoint, particularly two-voice counterpoint. He did this by developing a theory of hierarchically organized levels of elaboration ( 2965: 2888: 2637: 2303:

and bass arpeggiation) as background, in the voice-leading transformations as middelground and ultimately through the foreground." (Translation modified following

1137:

Even though he never discussed them at length, these elaborations occupy a very special place in Schenker's theory. One might even argue that no description of an

4407: 3218: 570: 3113:

Benjamin Ayotte, "The Reception of Heinrich Schenker's Concepts Outside the United States as Indicated by Publications Based on His Works: A Preliminary Study",

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elaborates degree I, the second thematic group is in the major relative, degree III, and the development leads to V before the recapitulation in the tonic key.

604: 3031:

The cases described in the following paragraphs are discussed in Heinrich Schenker, "Further Consideration of the Urlinie: II", translated by John Rothgeb,

1129: 492: 33:(1868–1935). The goal is to demonstrate the organic coherence of the work by showing how the "foreground" (all notes in the score) relates to an abstracted 938: 790: 4310: 362:

The idea of the fundamental line comes quite early in the development of Schenker's theory. Its first printed mention dates from 1920, in the edition of

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Beethovens V. Sinfonie. Darstellung des musikalischen Inhaltes nach der Handschrift unter fortlaufender Berücksichtigung des Vortrages und der Literatur

313: 545:

In practical art the main problem is how to realize the concept of harmony in a live content. In Chopin's Prelude, Op. 28, No 6, thus, it is the motif

421:". The head note may be elaborated by an upper neighbour note, but not a lower one. In many cases, the head note is reached through an ascending line ( 240:

One aspect of strict, two-voice writing that appears to span Schenker's theory throughout the years of its elaboration is the rule of "fluent melody" (

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become separated by many measures or many pages as new triads are embedded in the first one. The analyst is expected to develop a "distance hearing" (

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Schenkerian analyses label scale-steps with Roman numerals, a practice common in 19th- and 20th-century Vienna, developed by the theoretic work of

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Rhythmic reduction of the first measures of Chopin's Etude, Op. 10, no. 1. Simplified version of the analysis of the "ground-harmony" in Czerny's

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The elaborations of the fundamental structure deserve a specific discussion because they may determine the form of the work in which they occur.

586:

The elaboration of the triad, here mainly in the form of an arpeggio, loads it with "live content", with meaning. Elaborations take the form of

994:

is transferred from bass to soprano, while E is transferred from soprano to bass. The exchange is marked by crossed lines between these notes.

926: 778: 747:, in bar 3, after a descending arpeggio of the E major chord. The bass line is doubled in parallel tenths by the alto voice, descending from G 3802: 3386:

Ein Beitrag zur Ornamentik, als Einführung zu Ph. Em. Bachs Klavierwerken, mitumfassend auch die Ornamentik Haydns, Mozarts und Beethoven etc

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in order to mark the cadence, but it remains implicit in the B chord. In addition, the top voice answers the bass line by a voice exchange, E

634: 558: 81:

Schenker intended his theory as an exegesis of musical "genius" or the "masterwork", ideas that were closely tied to German nationalism and

3248:(Hillsdale, New York, Pendragon Press, 2004), section XIV.c.ii., "Reception through English Language Writings, Prior to 1954", pp. 437–443. 3096:. See David Carson Berry, "Schenker's First 'Americanization': George Wedge, The Institute of Musical Art, and the 'Appreciation Racket'", 1233:

in 1935, both based on Schenkerian concepts. Oswald Jonas and Felix Salzer founded and edited together the short-lived Schenkerian journal

2113:(in French), 2013; several earlier versions archived on the same page. Albanian translation by Sokol Shupo, available on the same webpage. 3661: 4046: 3962: 647:

any filling of their space involves conjunct motion. Schenker distinguishes two types of filling of the tonal space: 1) neighbor notes (

4597: 4400: 605: 149:), the idea being that each of the successive levels represents a new freedom taken with respect to the rules of strict composition. 4248: 4004: 3989: 3971: 3938: 3923: 3909: 3861: 3722: 3704: 3686: 3671: 3654: 3639: 3514: 3440: 3344: 2174:, especially §13 where Schenker writes: "By the concept of tonal space, I understand the space of the horizontal fulfillment of the 1382: 3196:

10/1-2 (1985) published for the 50th anniversary of Schenker's death other early American texts, including an unsigned obituary in

2166:, vol. 2, pp. 117–118 (the translation, although made from vols. 8–9 of the German original, gives as original pagination that of 1130: 477: 4566: 2131: 1079:: the harmony supporting it often is the IVth or VIth degree, which may give rise to a section of the work at the subdominant. 961:), but at times is displaced to higher or lower registers. These are called, respectively, "ascending register transfer" (Ger. 567: 363: 314: 4303: 3757: 3188: 1420:

Beethoven's Ninth Symphony: a Portrayal of its Musical Content, with Running Commentary on Performance and Literature as well

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is busy with the edition and translation of more than 100 000 manuscript pages. Translations in other languages remain slow.

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Thirteen Essays from The Three Yearbooks “Das Meisterwerk in Der Musik,” by Heinrich Schenker: An Annotated Translation.

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1926 "Das Organische der Fuge, aufgezeigt an der I. C-Moll-Fuge aus dem Wohltemperierten Klavier von Joh. Seb. Bach",

568: 425:, "initial ascent") or an ascending arpeggiation, which do not belong to the fundamental structure properly speaking. 923: 775: 555: 4331: 3914:

Schenker never presented a pedagogical presentation of his theories, this being the first according to its authors.

2096: 490: 3093: 936: 788: 4627: 4296: 4096: 4017: 94: 3771:"Schenkerian Theory in the United States: A Review of Its Establishment and a Survey of Current Research Topics" 3725:, translated by John Rothgeb. New York and London: Longman. "Most complete discussion of Schenker's theories." ( 4348: 2864:

The matter of the elaboration of seventh chords remains ambiguous in Schenkerian theory. See Yosef Goldenberg,

1314:, also published in 1945; his attacks also target Schenker's followers, probably the American ones. He writes: 4212:(2001), "Elephants, Crocodiles, and Beethoven: Schenker's Politics and the Pedagogy of Schenkerian Analysis", 366:, but the idea obviously links with that of "fluent melody", ten years earlier. Schenker first conceived the 4684: 4540: 4282: 4073: 3873: 2643: 2267:, opposed Schenker's musical conservatism and expanded the analytical method to more modern repertoire. See 1923:"Ein Gegenbeispiel: Max Reger, op. 81. Variationen und Fuge über ein Thema von Joh. Seb. Bach für Klavier", 1394: 924: 776: 102: 632: 556: 85:. The canon represented in his analytical work therefore is almost entirely made up of German music of the 4590: 4354: 3428: 1374: 1265: 86: 2449: 4522: 4442: 4437: 4374: 3824: 3359: 3354: 3317: 3258: 3240: 1298: 1260: 603: 90: 34: 3918:

Snarrenberg, Robert (1997). "Schenker's Interpretive Practice." Cambridge: Cambridge University Press.

2722:, p. 287, quotes Czerny's representation of the "ground-harmony" of Chopin's Study op. 10 n. 1 (in his 2323:, English translation, vol. I, pp. 22, 77 and 82. The term has been taken over by Wilhelm Furtwängler, 2032:, transl. J. Rothgeb, New York and London, Longman, 1982; 2 edition, Ann Arbor, Musicalia Press, 2005. 3186:

David Carson Berry, "Victor Vaughn Lytle and the Early Proselytism of Schenkerian Ideas in the U.S.",

2855:, literally "apparent linear progressions"; Oster's translation as "illusory" may overstate the point. 1128: 4699: 3230:

I/2 (1946); Arthur Waldeck and Nathan Broder, "Musical Synthesis as Expounded by Heinrich Schenker",

2970: 2893: 2074:, Boston, Schirmer, Cengage Learning, 4th edition (with Allen Cadwallader), 2011 (1st edition, 2003). 106: 2259:, New York, Pendragon, 1978. Influential early exponents of Schenker's theory in the United states, 312: 4462: 2369: 198: 1272:, devoted an article to "Heinrich Schenker's Method of Analysis" in 1935, then an important book, 4669: 4554: 4452: 4221: 4113: 4082: 3882: 3841: 3198: 1361: 665: 253: 2493: 2480:, vol. I, p. 104) ("the fluent melody is always better in strict style than the disjunct one"). 2689:

On this most interesting topic, see Kofi Agawu, "Schenkerian Notation in Theory and Practice",

1174: 1166: 1098: 1090: 1074: 1066: 1058: 1050: 1042: 1034: 443: 408: 400: 390: 381: 373: 303: 296: 289: 169:, that from which the work as a whole arises, takes its model in the harmonic series. However, 4583: 4534: 4502: 4482: 4427: 4359: 4244: 4041: 4000: 3985: 3967: 3957: 3934: 3919: 3905: 3857: 3798: 3718: 3700: 3682: 3667: 3650: 3635: 3600: 3592: 3580: 3564: 3552: 3536: 3524: 3510: 3498: 3490: 3476: 3458: 3446: 3436: 3416: 3398: 3390: 3380: 3340: 2974: 2897: 2042:, 2 vols., New York, Charles Boni, 1952. Reprint, 2 vols. bound as one, New York, Dover, 1982. 1378: 859: 618: 434: 30: 3791:

Schenker-Traditionen: Eine Wiener Schule der Musiktheorie und ihre internationale Verbreitung

3697:

Schenkerian traditions. A Viennese school of music theory and its international dissemination

2089: 4714: 4637: 4622: 4547: 4492: 4319: 4276: 4105: 3833: 3368: 3209: 3162: 1991: 1163:) is an elaboration of the fundamental line, which is interrupted at its last passing note, 872:

op. 4 no. 3, the vocal melody unfolds two voices of the succession I–V–I; the lower voice, B

357: 23: 4285:, on the website of the European Network for Theory & Analysis of Music (EuroT&AM). 4664: 4654: 4642: 3795:

Schenker Traditions: A Viennese School of Music Theory and Its International Dissemination

3204: 2790: 1293: 1087:

The canonic form of the bass arpeggiation is I–V–I. The second interval, V–I, forms under

245: 202: 174: 173:

the mere duplication of nature cannot be the object of human endeavour. Therefore ... the

122: 114: 3216:

XI/1, November–December 1933); Frank Knight Dale, "Heinrich Schenker and Musical Form",

4632: 4507: 4209: 4199:

Heinrich Schenker. Nach Tagebüchern und Briefen in der Oswald Jonas Memorial Collection

3977: 3503: 2994:

See David Gagné, "The Compositional Use of Register in Three Piano Sonatas by Mozart",

2736: 2067: 1280: 978: 504: 458:

devices indicate their structural importance. Schenker himself, in the foreword to his

278: 210: 110: 3733:

Essays on the dissemination of Schenkerian thought in the U.S. by David Carson Berry:

3715:

Introduction to the theory of Heinrich Schenker: the nature of the musical work of art

2030:

Introduction to the Theory of Heinrich Schenker: The Nature of the Musical Work of Art

1599: 1584: 465: 4739: 4724: 4512: 4477: 4457: 4447: 4369: 4342: 3819: 3739: 3480: 3462: 3402: 3384: 3235: 2956: 2879: 2260: 1269: 515:

Schenker himself usually began his analyses with a rhythmic reduction that he termed

249: 206: 166: 61: 1569: 1334: 1179:

above V, takes some importance, it may produce ternary form, typically sonata form.

1014:), may be reached only after an ascending motion, either an initial ascending line ( 16:

Method of musical analysis of tonal music based on the theories of Heinrich Schenker

4719: 4694: 4689: 4649: 4472: 4467: 4142: 4053: 4027: 3947: 3710: 3604: 3584: 3420: 3202:(February 3, 1935); Arthur Plettner, "Heinrich Schenker's Contribution to Theory" ( 3154: 2336: 2264: 2035: 2026:

Einführung in die Lehre Heinrich Schenkers. Das Wesen des musikalischen Kunstwerkes

1970: 1844: 1307: 1246: 1227: 1219: 528: 509: 418: 233: 130: 98: 4192:

Ideologie und Methode. Zum ideengeschichtlichen Kontext von Schenkers Musiktheorie

3770: 3143:

Ideologie und Methode. Zum ideengeschichtlichen Kontext von Schenkers Musiktheorie

3755:"Victor Vaughn Lytle and the Early Proselytism of Schenkerian Ideas in the U.S". 3663:

A Topical Guide to Schenkerian Literature: An Annotated Bibliography with Indices

3246:

A Topical Guide to Schenkerian Literature: An Annotated Bibliography with Indices

2909: 1127: 631: 602: 311: 117:), and he used his methods to oppose more modern styles of music such as that of 4709: 4674: 4659: 4497: 4187: 3868: 3786: 3692: 3612: 3177:

David Carson Berry, "Schenker's First 'Americanization'", op. cit., pp. 143–144.

3138: 2124: 2045: 1242: 26: 2008:

2004 Russian transl. by B. Plotnikov, Krasnoyarsk Academy of Music and Theatre.

2005:

1997 Chinese translation by Chen Shi-Ben, Beijing, People's Music Publications.

4487: 4432: 3271: 1804: 82: 4182:

The Schenker Project: Culture, Race, and Music Theory in Fin-de-siècle Vienna

3679:

The Schenker Project: Culture, Race, and Music Theory in Fin-de-siècle Vienna

3509:. Translated by John Rothgeb; Jürgen Thym. New York, London: Schirmer Books. 3372: 2255:

For a complete list of the works discussed by Schenker, see Larry Laskowski,

1939:

1930 "Rameau oder Beethoven? Erstarrung oder geistiges Leben in der Musik?",

213:, the classes of whom Schenker had followed in the Konservatorium in Vienna. 1618:, partial transl. by E. Forbes and F. J. Adams jr., New York, Norton, 1971 ( 917: 768: 118: 4269: 4135:. Princeton: Princeton University Press/Austin, Texas: Peer Publications. ( 3837: 2474:

der fliessende Gesang ist im strengen Stile immer besser as der sprungweise

2063:, New York, Oxford University Press, 3rd edition, 2011 (1st edition, 1998). 1719: 1704: 625: 548: 3450: 1554: 1539: 52:

to reach the score and showing how the work is somehow generated from the

4679: 4606: 4133:

Theory of Suspensions: A Study of Metrical Pitch Relations in Tonal Music

3572: 3544: 2824: 2807: 2566:

Schenker himself mentioned and refuted the criticism, in § 29 (p. 18) of

2492:, Liber secundus, Exercitii I, Lectio quinta) or even earlier. N. Meeùs, 2170:

1; the text is the same). The concept of tonal space is still present in

4225: 3166: 2411:

Viennese Harmonic Theory from Albrechtsberger to Schenker and Schoenberg

1875:

1926 "Joh. Seb. Bach: Suite III C-Dur für Violoncello-Solo, Sarabande",

4617: 4385: 3616: 3226:(1935); William J. Mitchell, "Heinrich Schenker's Approach to Detail", 2705:

William Rothstein, "Rhythmic Displacement and Rhythmic Normalization",

2154:(“Elucidations”), which he published four times between 1924 and 1926: 2106:, Portuguese (Brasil) translation from the French by L. Beduschi, 2008. 1577:

1924 "Schumann: Kinderszenen Nr. 1, Von fremden Ländern und Menschen",

595: 413:". The initial note of the fundamental line is called its "head tone" ( 4117: 4086: 3886: 3845: 2257:

Heinrich Schenker. An Annotated Index to his Analyses of Musical Works

914:, is doubled one octave lower in the right hand of the accompaniment: 4272:

on the Schenkerian site of Luciane Beduschi and Nicolas Meeùs (Paris)

3997:

SchenkerGUIDE: A Brief Handbook and Web Site for Schenkerian Analysis

2914:

Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic

2537:, vol. III (1930), pp. 20–21 (English translation, p. 7-8). The word 2291:

See Schenker's "instructional plan" described in his Introduction to

2103: 2028:, Wien, Universal, 1972. English translation of the revised edition, 622:

fragment consists of arpeggios (with neighbor notes) of the F chord:

273: 2079:

Schenkerguide. A Brief Handbook and Website for Schenkerian Analysis

1946: