Schenkerian Analysis - Analyse nach Heinrich Schenker

Oliver Schwab-Felisch; Michael Polth; Hartmut Fladt

doi:10.5771/9783487424798

Summary

There are two main reasons why Heinrich Schenker became one of the most discussed music theorists of the 20th century: Firstly, his theory enables descriptions of the voice leading, harmony and syntax of tonal works that are as multi-layered as they are consistent. And secondly, Schenker's 'theory of layers' found ideal conditions in the USA, where most of Schenker's students had emigrated after 1933 - conditions that quickly allowed it to rise to become the leading theory of tonal music. In Austria, Germany and Switzerland, Schenker's reception initially took a different path: until the turn of the millennium, Schenker's theory remained the preserve of a few specialists. Since then, however, it has also met with growing interest in the German-speaking world. This German-English anthology contributes to Schenker research in both language areas and academic cultures. It examines questions of theoretical history, illuminates unexplored aspects of Schenker theory and opens up numerous of its implications for the theory of science, the history of reception and music aesthetics. In doing so, he often goes beyond Schenker - through new ideas of rhythm and metrics, references to Niklas Luhmann's systems theory or pluralistic theoretical concepts. The separate music volume contains analytical graphics as well as original musical texts. Online audio examples illustrate how different analytical interpretations can affect musical performances. Finally, a glossary and index facilitate in-depth readings along the lines of specific questions. A fundamental study book that shows music theorists and performers numerous possibilities for being inspired by Schenker's thinking.

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Bibliographic data

Copyright year: 2021
Publication date: 01.09.2021
ISBN-Print: 978-3-487-14726-0
ISBN-Online: 978-3-487-42479-8
Publisher: Georg Olms Verlag, Baden-Baden
Series: Studien und Materialien zur Musikwissenschaft
Volume: 112
Language: English
Pages: i132
Product type: Edited Book

Titelei/Inhaltsverzeichnis No access Pages I - xiv
Schenker-Analyse und Wissenschaft. Eine Einführung No access Pages 1 - 20 Michael Polth
The Curious Incident of the Dog in the Night-Time: The Importance of Non-Events No access Pages 21 - 30 Carl Schachter
Effects, Alternative Analytical Solutions, and Interpretation No access Pages 31 - 40 Frank Samarotto
Structure and Design in Chopin’s Mazurka, Op. 56, No. 3: Voice Leading and Cadential Gestures No access Pages 41 - 50 Lauri Suurpää
Triebleben oder Logik der Klänge? Über Chopins Nocturnes op. 62 No access Pages 51 - 66 Hermann Danuser
Das Präludium als Abriss der Harmonielehre – Eine Interpretation von Chopins Opus 28, Nr. 9 No access Pages 67 - 88 Hartmuth Kinzler
Bach, Praeludium C-Dur BWV 939 No access Pages 89 - 102 Bernhard Haas, Veronica Diederen
Klangisolation und -projektion im späten Klavierwerk Franz Liszts No access Pages 103 - 112 Patrick Boenke
Die Logik der Schenkerschen Musikanalyse und ihre Bedeutung für die allgemeine Ästhetik No access Pages 113 - 134 Bruno Haas
›Sonatenform‹ als Funktionalität. Formbildung um 1775 aus post-Schenkerscher Perspektive No access Pages 135 - 162 Michael Polth
Rationale Rekonstruktion der Schichtenlehre Heinrich Schenkers No access Pages 163 - 182 Oliver Schwab-Felisch
Zum Problem des Motivischen bei Schenker No access Pages 183 - 192 Bernd Redmann
Schenker, Luhmann und das Problem der ›steigenden Urlinie‹ No access Pages 193 - 226 Stefan Rohringer
Fundamental Line(s) No access Pages 227 - 234 Nicolas Meeùs
Diminution and Harmonic Counterpoint in Late-Eighteenth-Century Naples: Vincenzo Lavigna’s Studies with Fedele Fenaroli No access Pages 235 - 254 Giorgio Sanguinetti
Die ornamentale Struktur des Tonsatzes. Ornamentik als Grenzbereich zwischen Analyse und Vortragslehre No access Pages 255 - 272 Martin Eybl
Schenker und Bach – ein Zwiegespräch zwischen einem Interpreten und einem Musiktheoretiker No access Pages 273 - 288 Paul Scheepers, Johannes Leertouwer
Schenker in Böhmen. Ein Beitrag zur Rezeption von Schenkers Musiktheorie No access Pages 289 - 296 Lubomir Spurny
Glossar No access Pages 297 - 314 Bernhard Haas
Sachregister Deutsch No access Pages 315 - 323
Sachregister Englisch No access Pages 324 - 327
Personenregister No access Pages 328 - 331
1. The Curious Incident of the Dog in the Night-Time: The Importance of Non-Events No access Pages i1 - i14 Carl Schachter
2. Effects, Alternative Analytical Solutions, and Interpretation No access Pages i15 - i26 Frank Samarotto
3. Structure and Design in Chopin’s Mazurka, Op. 56, No. 3: Voice Leading and Cadential Gestures No access Pages i27 - i40 Lauri Suurpää
4. Triebleben oder Logik der Klänge? Über Chopins Nocturnes op. 62 No access Pages i41 - i48 Hermann Danuser
5. Das Präludium als Abriss der Harmonielehre – Eine Interpretation von Chopins Opus 28, Nr. 9 No access Pages i49 - i52 Hartmuth Kinzler
6. Bach, Praeludium C-Dur BWV 939 No access Pages i53 - i58 Bernhard Haas, Veronica Diederen
7. Klangisolation und -projektion im späten Klavierwerk Franz Liszts No access Pages i59 - i62 Patrick Boenke
8. ›Sonatenform‹ als Funktionalität. Formbildung um 1775 aus post-Schenkerscher Perspektive No access Pages i63 - i72 Michael Polth
9. Zum Problem des Motivischen bei Schenker No access Pages i73 - i84 Bernd Redmann
10. Schenker, Luhmann und das Problem der ›steigenden Urlinie‹ No access Pages i85 - i88 Stefan Rohringer
11. Fundamental Line(s) No access Pages i89 - i92 Nicolas Meeùs
12. Diminution and Harmonic Counterpoint in Late-Eighteenth-Century Naples: Vincenzo Lavigna’s Studies with Fedele Fenaroli No access Pages i93 - i108 Giorgio Sanguinetti
13. Die ornamentale Struktur des Tonsatzes. Ornamentik als Grenzbereich zwischen Analyse und Vortragslehre No access Pages i109 - i110 Martin Eybl
14. Schenker und Bach – ein Zwiegespräch No access Pages i111 - i132 Paul Scheepers, Johannes Leertouwer