Editing Schenkerian analysis (section)

===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>