Editing Schenkerian analysis (section)

===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>