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Schenkerian analysis
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==Legacy and responses== ===Europe before World War II=== 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 [with John Petrie Dunn], (also New York [probably with George Wedge]), Leipzig [with [[Reinhard Oppel]]], Stuttgart [with Herman Roth], Vienna (myself and [Hans] Weisse), [Otto] Vrieslander in Munich […], yourself [von Cube] in Duisburg, and [August] Halm [in Wickersdorf, Thuringia]."<ref>[http://www.schenkerdocumentsonline.org/documents/correspondence/OJ-5-7a_10.html Letter of June 1, 1927]. See David Carson Berry, "Schenker's First 'Americanization': George Wedge, The Institute of Musical Art, and the 'Appreciation Racket'", ''Gamut'' 4/1 (2011), ''Essays in Honor of Allen Forte'' III, particularly p. 157 and note 43.</ref> Von Cube, with Moritz Violin, another of Schenker's students, founded the ''Schenker Institut'' in Hamburg in 1931.<ref>Benjamin Ayotte, "The Reception of Heinrich Schenker's Concepts Outside the United States as Indicated by Publications Based on His Works: A Preliminary Study", ''Acta musicologica'' (CZ), 2004 (online).</ref> [[Oswald Jonas]] published ''Das Wesen des musikalischen Kunstwerkes'' in 1932, and [[Felix Salzer]] ''Sinn und Wesen des Abendländischen Mehrstimmigkeits'' in 1935, both based on Schenkerian concepts. Oswald Jonas and Felix Salzer founded and edited together the short-lived Schenkerian journal ''Der Dreiklang'' (Vienna, 1937–1938).{{sfn|Berry|2003|p=104}} 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 the Atlantic, notably by [[Martin Eybl]]<ref>[[Martin Eybl]], ''Ideologie und Methode. Zum ideengeschichtlichen Kontext von Schenkers Musiktheorie''. Hans Schneider, 1995.</ref> and [[Philip Ewell|Philip A. Ewell]].<ref>[[Philip Ewell|Philip A. Ewell]], "Music Theory and the White Racial Frame", ''MTO: A Journal of Music Theory'' 26/2, September, 2020. {{doi|10.30535/mto.26.2.4}}</ref> ===Early reception in the US=== George Wedge taught some of Schenker's ideas as early as 1925 in the Institute of Musical Arts, New York.<ref>David Carson Berry, "Schenker's First 'Americanization'", op. cit., pp. 143–144.</ref> 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" (''[[The American Organist]]'', 1931), without however really crediting Schenker for them.<ref>David Carson Berry, "Victor Vaughn Lytle and the Early Proselytism of Schenkerian Ideas in the U.S.", ''[[Journal of Schenkerian Studies]]'' 1 (2005), pp. 98–99. ''Theory and Practice'' 10/1-2 (1985) published for the 50th anniversary of Schenker's death other early American texts, including an unsigned obituary in ''[[The New York Times]]'' (February 3, 1935); Arthur Plettner, "Heinrich Schenker's Contribution to Theory" (''[[Musical America]]'' VI/3, February 10, 1936); [[Israel Citkowitz]], "The Role of Heinrich Schenker" (''Modern Music'' XI/1, November–December 1933); Frank Knight Dale, "Heinrich Schenker and Musical Form", ''[[Bulletin of the American Musicological Society]]'' 7, October 1943); Hans Weisse, "The Music Teacher's Dilemma", ''Proceedings or the Music Teachers National Association'' (1935); William J. Mitchell, "Heinrich Schenker's Approach to Detail", ''Musicology'' I/2 (1946); Arthur Waldeck and Nathan Broder, "Musical Synthesis as Expounded by Heinrich Schenker", ''The Musical Mercury'' XI/4 (December 1935); and [[Adele T. Katz]], "Heinrich Schenker's Method of Analysis" (''[[The Musical Quarterly]]'' XXI/3, July 1935). See also David Carson Berry, ''A Topical Guide to Schenkerian Literature: An Annotated Bibliography with Indices'' (Hillsdale, New York, Pendragon Press, 2004), section XIV.c.ii., "Reception through English Language Writings, Prior to 1954", pp. 437–443.</ref> Weisse himself, who had studied with Schenker at least from 1912, immigrated to the United States and began teaching Schenkerian analysis at the [[Mannes School of Music]] in New York in 1931. One of his students, [[Adele T. Katz]], devoted an article to "Heinrich Schenker's Method of Analysis" in 1935,<ref>''[[The Musical Quarterly]]'' 21/3 (July 1935), pp. 311–329.</ref> then an important book, ''Challenge to Musical Tradition'', 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.<ref>[[Adele Katz]], ''Challenge to Musical Tradition. A New Concept of Tonality'', 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,'" ''Current Musicology'' 74 (2002), pp. 103–151.</ref> The opinions of the critics were not always positive, however. [[Roger Sessions]] published in ''Modern Music'' 12 (May–June 1935) an obituary article under the title "Heinrich Schenker's Contribution"<ref>Reproduced in ''Critical Inquiry'' 2/1 (Autumn 1975), pp. 113–119.</ref> where, after having recognized some of Schenker's achievements, he criticizes the development of the last years, until ''Der freie Satz'' (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".<ref>''Critical Inquiry'' 2/1, p. 118.</ref> The most raging attack against Schenker came in the "Editorial" that [[Paul Henry Lang]] devoted in ''[[The Musical Quarterly]]'' 32/2 (April 1946) to the recently published book by Adele Katz, ''Challenge to Musical Tradition'', which he opposed to [[Donald Tovey]]'s ''Beethoven'', also published in 1945; his attacks also target Schenker's followers, probably the American ones. He writes: <blockquote>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 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.<ref>''[[The Musical Quarterly]]'' 32/2, pp. 301–302.</ref></blockquote> ===After World War II=== ====Translations==== 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 [http://www.schenkerdocumentsonline.org/index.html Schenker Documents Online] is busy with the edition and translation of more than 100 000 manuscript pages. Translations in other languages remain slow. See also [https://europeanmusictheory.eu/schenkers-writings-on-theory-and-analysis/ Schenker's Writings on Theory], on the website of the EuroT&AM. * 1895 ''Der Geist der musikalischen Technik''. ** 2007 Transl. by W. Pastille, in N. Cook, ''The Schenker Project'', Appendix, pp. 319-332. * 1904 ''Ein Beitrag zur Ornamentik''. ** 1976 Transl. by H. Siegel, ''Music Forum'' 4, pp. 1–139. ** 1979 Japanese translation by A. Noro and A. Tamemoto. * 1906 [[Harmony (Schenker)|''Harmonielehre'']]. ** 1954 ''Harmony'', transl. by [[Elisabeth Mann Borgese]], edited and annotated by Oswald Jonas {{ISBN|9780226737348}} (with editorial cuts in text and music examples) ** 1990 Spanish transl. by R. Barce. * 1910 [[Counterpoint (Schenker)|''Kontrapunkt'']] I. ** 1987 ''Counterpoint'' I, transl. by J. Rothgeb and J. Thym. * 1912 ''Beethovens neunte Sinfonie'', 1912 ** 1992 ''Beethoven's Ninth Symphony: a Portrayal of its Musical Content, with Running Commentary on Performance and Literature as well'', transl. by J. Rothgeb, 1992. ** 2010 Japanese transl. by H. Nishida and T. Numaguchi. * 1913 Beethoven, Sonate E dur op. 109 (''Erläuterungsausgabe''). ** 2012 Japanese transl. by M. Yamada, H. Nishida and T. Numaguchi. ** 2015 English transl. by J. Rothgeb. * 1914 Beethoven, Sonate As dur op. 110 (''Erläuterungsausgabe''). ** 2013 Japanese transl. by M. Yamada, H. Nishida and T. Numaguchi. ** 2015 English transl. by J. Rothgeb. * 1915 Beethoven, Sonate C moll op. 111 (''Erläuterungsausgabe''). ** 2015 English transl. by J. Rothgeb. * 1920 Beethoven, Sonate A dur op. 101 (''Erläuterungsausgabe''). ** 2015 English transl. by J. Rothgeb. * 1921–1924 ''Der Tonwille'' (10 vols.) ** 2004–2005 ''Der Tonwille'', transl. under the direction of William Drabkin. * 1922 ''Kontrapunkt'' II. ** 1987 ''Counterpoint'' II, transl. by J. Rothgeb and J. Thym. * 1922 "Haydn: Sonate Es-Dur", ''Der Tonwille'' III, pp. 3–21. ** 1988 Transl. by W. Petty, ''Theoria'' 3, pp. 105–160. * 1923 "J. S. Bach: Zwölf kleine Präludien Nr. 2 [BWV 939]", ''Der Tonwille'' IV, 1923, p. 7. ** [2007] [http://nmeeus.ovh/JSBach/BWV939_Tw4.pdf French transl. by N. Meeùs]. * 1923 "J. S. Bach: Zwölf kleine Präludien Nr. 5 [BWV 926]", ''Der Tonwille'' V, pp. 8–9. ** [2006] [http://nmeeus.ovh/JSBach/BWV926_Tw5.pdf French transl. by N. Meeùs]. * 1924 "Mendelssohn: Venetianisches Gondellied, op. 30, Nr. 6", ''Der Tonwille'' X, pp. 25–29. ** [2011] [http://nmeeus.ovh/Mendelssohn/MendelssohnTW10.pdf French transl. by N. Meeùs]. * 1924 "Schumann: Kinderszenen Nr. 1, Von fremden Ländern und Menschen", ''Der Tonwille'' X, pp. 34–35. ** [2011] [http://nmeeus.ovh/Schumann/Schumann_op15_1_Tw10.pdf French transl. by N. Meeùs]. * 1924 "Schumann: Kinderszenen op. 15, Nr. 9, Träumerei", ''Der Tonwille'' X, pp. 36–39. ** [2011] [http://nmeeus.ovh/Schumann/Schumann_op15_7_Tw10.pdf French transl. by N. Meeùs]. * 1925 ''Beethovens V. Sinfonie. Darstellung des musikalischen Inhaltes nach der Handschrift unter fortlaufender Berücksichtigung des Vortrages und der Literatur'', Vienne, Tonwille Verlag and Universal Edition. Reprint 1970. ** 1971 ''Ludwig van Beethoven: Symphony N. 5 in C minor'', partial transl. by E. Forbes and F. J. Adams jr., New York, Norton, 1971 (''Norton Critical Score'' 9), pp. 164–182. ** 2000 Japanese transl. by T. Noguchi. * 1925–1930 ''Das Meisterwerk in der Musik'', 3 vols. ** 1998 transl. under the direction of William Drabkin. * 1925 "Die Kunst der Improvisation", ''Das Meisterwerk in der Musik'' I, pp. 9–40. ** 1973 Transl. by S. Kalib, "Thirteen Essays from the Three Yearbooks ''Das Meisterwerk in der Musik'': An Annotated Translation," PhD diss., Northwestern University. * 1925 "Weg mit dem Phrasierungsbogen", ''Das Meisterwerk in der Musik'' I, pp. 41–60. ** 1973 Transl. by S. Kalib, "Thirteen Essays from the Three Yearbooks ''Das Meisterwerk in der Musik'': An Annotated Translation," PhD diss., Northwestern University. * 1925 "Joh. S. Bach: Sechs Sonaten für Violine. Sonata III, Largo", ''Das Meisterwerk in der Musik'' I, pp. 61–73. ** 1973 Transl. by S. Kalib, "Thirteen Essays from the Three Yearbooks ''Das Meisterwerk in der Musik'': An Annotated Translation," PhD diss., Northwestern University. ** 1976 Transl. by J. Rothgeb, ''The Music Forum'' 4, pp. 141–159. * 1925 "Joh. S. Bach: Zwölf kleine Präludien, Nr. 6 [BWV 940]", ''Das Meisterwerk in der Musik'' I, pp. 99–105. ** [2010] [http://nmeeus.ovh/JSBach/BWV940_MwMI.pdf French transl. by N. Meeùs]. * 1925 "Joh. S. Bach: Zwölf kleine Präludien, Nr. 12 [BWV 942]", ''Das Meisterwerk in der Musik'' I, 1925, pp. 115–123. ** [2006] [http://nmeeus.ovh/JSBach/BWV942_MwMI.pdf French transl. by N. Meeùs]. * 1925 "Domenico Scarlatti: Keyboard Sonata in D minor, [L.413]", ''Das Meisterwerk in der Music'' I, pp. 125–135. ** 1986 Transl. by J. Bent, ''Music Analysis'' 5/2-3, pp. 153–164. * 1925 "Domenico Scarlatti: Keyboard Sonata in G major, [L.486]", ''Das Meisterwerk in der Music'' I, pp. 137–144. ** 1986 Transl. by J. Bent, ''Music Analysis'' 5/2-3, pp. 171–179. * 1925 "Chopin: Etude Ges-Dur op. 10, Nr. 5", ''Das Meisterwerk in der Musik'' I, pp. 161–173. ** 1973 Transl. by S. Kalib, "Thirteen Essays from the Three Yearbooks ''Das Meisterwerk in der Musik'': An Annotated Translation," PhD diss., Northwestern University. * 1925 "Erläuterungen", ''Das Meisterwerk in der Music'' I, pp. 201–205. (Also published in ''Der Tonwille'' 9 and 10 and in ''Das Meisterwerk in der Musik'' II.) ** 1973 Transl. by S. Kalib, "Thirteen Essays from the Three Yearbooks ''Das Meisterwerk in der Musik'': An Annotated Translation," PhD diss., Northwestern University. ** 1986 Transl. by J. Bent, ''Music Analysis'' 5/2-3, pp. 187–191. ** [2011] [http://nmeeus.ovh/Theorie/Erlauterungen.pdf French transl. by N. Meeùs]. * 1926 "Fortsetzung der Urlinie-Betrachtungen", ''Das Meisterwerk in der Musik'' II, pp. 9–42. ** 1973 Transl. by S. Kalib, "Thirteen Essays from the Three Yearbooks ''Das Meisterwerk in der Musik'': An Annotated Translation," PhD diss., Northwestern University. * 1926 "Vom Organischen der Sonatenform", ''Das Meisterwerk in der Musik'' II, pp. 43–54. ** 1968 Transl. by O. Grossman, ''Journal of Music Theory'' 12, pp. 164–183, reproduced in ''Readings in Schenker Analysis and Other Approaches'', [[Maury Yeston|M. Yeston]] ed., New Haven, 1977, pp. 38–53. ** 1973 Transl. by S. Kalib, "Thirteen Essays from the Three Yearbooks ''Das Meisterwerk in der Musik'': An Annotated Translation," PhD diss., Northwestern University. * 1926 "Das Organische der Fuge, aufgezeigt an der I. C-Moll-Fuge aus dem Wohltemperierten Klavier von Joh. Seb. Bach", ''Das Meisterwerk in der Musik'' II, pp. 55–95 ** 1973 Transl. by S. Kalib, "Thirteen Essays from the Three Yearbooks ''Das Meisterwerk in der Musik'': An Annotated Translation," PhD diss., Northwestern University. * 1926 "Joh. Seb. Bach: Suite III C-Dur für Violoncello-Solo, Sarabande", ''Das Meisterwerk in der Musik'' II, 1926, pp. 97–104. ** 1970 Transl. by H. Siegel, ''The Music Forum'' 2, pp. 274–282. * "Mozart: Sinfonie G-Moll", ''Das Meisterwerk in der Musik'' II, pp. 105–157. ** 1973 Transl. by S. Kalib, "Thirteen Essays from the Three Yearbooks ''Das Meisterwerk in der Musik'': An Annotated Translation," PhD diss., Northwestern University. * "Haydn: Die Schöpfung. Die Vorstellung des Chaos", ''Das Meisterwerk in der Musik'' II, pp. 159–170. ** 1973 Transl. by S. Kalib, "Thirteen Essays from the Three Yearbooks ''Das Meisterwerk in der Musik'': An Annotated Translation," PhD diss., Northwestern University. * "Ein Gegenbeispiel: Max Reger, op. 81. Variationen und Fuge über ein Thema von Joh. Seb. Bach für Klavier", ''Das Meisterwerk in der Musik'' II, pp. 171–192. ** 1973 Transl. by S. Kalib, "Thirteen Essays from the Three Yearbooks ''Das Meisterwerk in der Musik'': An Annotated Translation," PhD diss., Northwestern University. * 1930 "Rameau oder Beethoven? Erstarrung oder geistiges Leben in der Musik?", ''Das Meisterwerk in der Musik'' III, pp. 9–24. ** 1973 Transl. by S. Kalib, "Thirteen Essays from the Three Yearbooks ''Das Meisterwerk in der Musik'': An Annotated Translation," PhD diss., Northwestern University. * 1932 ''Fünf Urlinie-Tafeln''. ** 1933 ''Five Analyses in Sketch Form'', New York, D. Mannes Music School. ** 1969 New version with a glossary by [[Felix Salzer|F. Salzer]]: ''Five Graphic Music Analyses'', New York, Dover. * 1935/1956 ''Der freie Satz''. Translations of the 2nd edition, 1956. ** 1979 ''[[Free Composition]]'', transl. by E. Oster, 1979. ** 1993 ''L'Écriture libre'', French transl. by N. Meeùs, Liège-Bruxelles, Mardaga. ** 1997 Chinese translation by Chen Shi-Ben, Beijing, People's Music Publications. ** 2004 Russian transl. by B. Plotnikov, Krasnoyarsk Academy of Music and Theatre. ====Textbooks==== * Oswald Jonas, ''Das Wesen des musikalischen Kunstwerks'', Wien, Universal, 1934; revised edition, ''Einführung in die Lehre Heinrich Schenkers. Das Wesen des musikalischen Kunstwerkes'', Wien, Universal, 1972. English translation of the revised edition, ''Introduction to the Theory of Heinrich Schenker: The Nature of the Musical Work of Art'', transl. J. Rothgeb, New York and London, Longman, 1982; 2<sup>d</sup> [revised and expanded] edition, Ann Arbor, Musicalia Press, 2005. * [[Felix Salzer]], ''Structural Hearing: Tonal Coherence in Music'', 2 vols., New York, Charles Boni, 1952. Reprint, 2 vols. bound as one, New York, Dover, 1982. * [[Allen Forte]] and Steven E. Gilbert, ''Introduction to Schenkerian Analysis'' and ''Instructor's Manual for Introduction to Schenkerian Analysis'', New York, London, Dover, 1982. * Allen Cadwallader and David Gagné, ''Analysis of Tonal Music. A Schenkerian Approach'', New York, Oxford University Press, 3rd edition, 2011 (1st edition, 1998). * Edward Aldwell and [[Carl Schachter]], ''Harmony and Voice Leading'', Boston, Schirmer, Cengage Learning, 4th edition (with Allen Cadwallader), 2011 (1st edition, 2003). * Tom Pankhurst, ''Schenkerguide. A Brief Handbook and Website for Schenkerian Analysis'', New York and London, Routledge, 2008 [http://www.schenkerguide.com/ Schenkerguide website]. * William Renwick and David Walker, [http://www.humanities.mcmaster.ca/%7Erenwick/glosstart.htm Schenkerian Analysis Glossary]. * Larry J. Solomon, [https://web.archive.org/web/20071115223321/http://solomonsmusic.net/schenker.htm A Schenkerian Primer]. * Nicolas Meeùs, [http://nmeeus.ovh/Cours/Index.html Análise schenkeriana], Portuguese (Brasil) translation from the French by L. Beduschi, 2008. * Luciane Beduschi and Nicolas Meeùs, [http://nmeeus.ovh/Manuel.html Analyse schenkérienne] (in French), 2013; several earlier versions archived on the same page. Albanian translation by Sokol Shupo, available on the same webpage.
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