: Free Composition (Der Freie Satz): Vol. III of New Musical Theories and Fantasies . Heinrich Schenker, Ernst Oster.

1981 ◽  
Vol 3 (1) ◽  
pp. 158-184 ◽  
Author(s):  
Edward Laufer
Keyword(s):  
Heinrich Schenker

Heinrich Schenker and Musical Form

1943 ◽  
Vol 7 (1) ◽  
pp. 12-13 ◽  
Author(s):  
Frank Knight Dale
Keyword(s):  
Heinrich Schenker ◽  
Musical Form

scholarly journals O modo de dizer da teoria musical: uma reflexão sobre a terminologia de Schenker

Orfeu ◽  
2021 ◽  
Vol 6 (3) ◽  
Author(s):  
Ivan Gonçalves Nabuco ◽  
Sérgio Paulo Ribeiro de Freitas
Keyword(s):  
Heinrich Schenker

Coloca-se em discussão a tradução para a língua portuguesa de alguns termos da teoria musical de Heinrich Schenker. Detendo-se, principalmente, sobre os termos Urlinie e Ursatz, procura-se realizar um debate a respeito do significado de tais conceitos, significado que aparece como a manifestação estritamente musical do princípio da unidade da obra de arte. Tal princípio assume um papel emblemático na teoria se Schenker por meio do concito de coerência orgânica e, portanto, do conceito de organismo. A argumentação se concentra sobre os múltiplos significados da palavra Satz, destacando seus usos no vocabulário musical e, principalmente, nos escritos de Schenker, mais especificamente, como elemento formador do termo Ursatz. A discussão oportuniza uma reflexão a respeito de termos propostos por Schenker e de suas implicações e alcances quando vertidos para outras línguas, épocas e lugares.

scholarly journals The Art of Modulating, Preludizing, and Fantasizing: Schenker’s Thoughts about Keys and Key Change Reconsidered

Orfeu ◽  
2021 ◽  
Vol 6 (3) ◽  
Author(s):  
John Koslovsky ◽  
Matthew Brown
Keyword(s):  
Heinrich Schenker

Although Heinrich Schenker certainly changed his mind about many topics, he never waivered in his belief that 1) current ways to explain modulation were fundamentally flawed; and 2) that modulation is best learned by improvising preludes and fantasies. To explain these points, Part I reconsiders Schenker’s critique of Max Reger’s Beiträge zur Modulationslehre (1903) and Salomon Jadassohn’s Die Kunst zu Modulieren und zu Präludieren (1890) and describes three types of modulation endorsed by Schenker in his Harmonielehre (1906): 1) [diatonic] reinterpretation; 2) chromaticism; and 3) enharmonicism. Part II then shows how Schenker not only dispensed with the traditional concepts of relative, close, and distant keys, but he eventually proposed that modulations arise at the foreground for contrapuntal, even motivic reasons. Finally, Part III uses Schenker’s claims about modulating and preludizing to analyze Beethoven’s “Two Preludes” in C major, Op. 39, both of which modulate “through all twelve major keys.”

scholarly journals Razões e meios para o envolvimento com a proposta de Heinrich Schenker

Orfeu ◽  
2021 ◽  
Vol 6 (3) ◽  
Author(s):  
Adriana Lopes Moreira ◽  
Maria Lúcia Pascoal
Keyword(s):  
Heinrich Schenker

A expansão da percepção de obras musicais que emerge do contato de músicos com a proposta schenkeriana é valorizada neste artigo. Para tanto, as autoras compartilham com o leitor suas experiências docentes junto ao ensino dessa prática analítica, em interlocução com processos harmônicos, contrapontísticos e texturais.

Parallelism between Linguistics and Music – Noam Chomsky and Heinrich Schenker

2021 ◽  
Vol 13 (62) (SI) ◽  
pp. 287-294
Author(s):  
Botond SZOCS
Keyword(s):  
Heinrich Schenker ◽  
Musical Analysis ◽  
Musical Language ◽  
Transformational Grammar ◽  
Verbal Language ◽  
Noam Chomsky ◽  
Musical Discourse ◽  
Linguistic Categories ◽  
New Perspective ◽  
Structural Levels

The paper aims to compare musical language with verbal language, creating a new perspective on music and natural language. The three categories of linguistics, phonology, syntax and semantics are analyzed. Bernstein highlights the analogies between the linguistic categories and music, researching the same three components of linguistics in music. The possibility of applying the transformational grammar procedures to the musical text is studied. In the second part of the paper, the authors investigate the method of analysis based on harmony and counterpoint, differentiating several structural levels conceived by the theoretical musician H. Schenker. Schenkerian analyzes are a relatively recent appearance in the field of musical analysis, which proposes as an innovation in the field of musical analysis the structural vision of musical discourse.

Works of Heinrich Schenker

2020 ◽  
pp. 5-60
Author(s):  
Benjamin McKay Ayotte
Keyword(s):  
Heinrich Schenker

Hypermetrical Irregularities in Expanded Phrases

2021 ◽  
pp. 173-213
Author(s):  
Danuta Mirka
Keyword(s):  
Eighteenth Century ◽  
Heinrich Schenker ◽  
Hugo Riemann ◽  
Further Development

This chapter deals with hypermetrical irregularities in phrases expanded by means of parenthesis, repetition, and appendix. All these means of phrase expansion were recognized by eighteenth-century authors. The discussion of parenthesis reveals an uncharacteristically careless treatment of this concept by Heinrich Christoph Koch. It outlines its further development by Hugo Riemann and Heinrich Schenker and deconstructs the concept of parenthesis developed by William Rothstein (1989), thus restoring it to eighteenth-century perspective. The discussion of repetition engages with Rothstein’s discussion of this technique of phrase expansion and its effect upon hypermeter. The discussion of appendix compares Koch’s account of this concept to Rothstein’s concept of “suffix.”

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