Heinrich Schenker's theoretical and analytical method occupies a central (and often troubling) position in modern Anglo-American musical studies. His writings claim to resubstantiate the unique artistic presence of the canonic work, and reject those disciplines, such as psychoacoustics and systematic musicology, which derive from the natural sciences. This book rereads Schenker's project as an attempt to reconstruct music theory as a discipline against the background of the new empirical musical sciences of the later nineteenth century, such as the psychological and historical investigations of music.
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"...distinguished by an extremely impressive breadth of research." Journal of Aesthetics and Art Criticism
Book Description
Heinrich Schenker's theoretical and analytical method occupies a central (and often troubling) position in modern Anglo-American musical studies. His writings claim to resubstantiate the unique artistic presence of the canonic work, and reject those disciplines, such as psychoacoustics and systematic musicology, which derive from the natural sciences. This book rereads Schenker's project as an attempt to reconstruct music theory as a discipline against the background of the new empirical musical sciences of the later nineteenth century, such as the psychological and historical investigations of music.
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First Sentence:
Schenker moves most decisively in the preface to Harmony (1906) to differentiate his work from that of his contemporaries. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
new musical sciences, phrase slur, instrumental diminution, musical psychology, interior performance, free composition, legato slur, systematic musicology, musical discourse, psychic operations, comparative musicology, historical musicology, fugue subject, musical intuitions, minor fugue, respective discourses, musical surface, physiological acoustics, descriptive psychology, musical text, music criticism, music theory, psychological content, analytic psychology, parallel fifths Key Phrases - Capitalized Phrases (CAPs): (learn more)
Heinrich Schenker, Hugo Riemann, Perspectives of New Music, Abolish the Phrasing Slur, Benjamin Boretz, The Order of Things, New York, Die Musik, Cambridge University Press, German Musicology, Guido Adler, Max Hesse, Universal Edition, Analytic Fallout, Clarendon Press, Milton Babbitt, Musikbibliothek Peters, Neue Zeitschrift New!
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Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Schenker moves most decisively in the preface to Harmony (1906) to differentiate his work from that of his contemporaries. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
new musical sciences, phrase slur, instrumental diminution, musical psychology, interior performance, free composition, legato slur, systematic musicology, musical discourse, psychic operations, comparative musicology, historical musicology, fugue subject, musical intuitions, minor fugue, respective discourses, musical surface, physiological acoustics, descriptive psychology, musical text, music criticism, music theory, psychological content, analytic psychology, parallel fifths Key Phrases - Capitalized Phrases (CAPs): (learn more)
Heinrich Schenker, Hugo Riemann, Perspectives of New Music, Abolish the Phrasing Slur, Benjamin Boretz, The Order of Things, New York, Die Musik, Cambridge University Press, German Musicology, Guido Adler, Max Hesse, Universal Edition, Analytic Fallout, Clarendon Press, Milton Babbitt, Musikbibliothek Peters, Neue Zeitschrift New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 26
books:
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6
books
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- Free Composition (Der freie Satz) v. 1 & 2 by Heinrich Schenker on 34 pages
- Music and Discourse by Jean-Jacques Nattiez on 4 pages
- Ernst Kurth: Selected Writings (Cambridge Studies in Music Theory and Analysis) by Ernst Kurth in Front Matter, page 34, and Back Matter
- The Order of Things: An Archaeology of the Human Sciences by Michel Foucault on page 85, page 98, and page 109
- Ontological Relativity by W. V. Quine on page 113, and Back Matter
See all 26 books this book cites
- Musical Form in the Age of Beethoven: Selected Writings on Theory and Method (Cambridge Studies in Music Theory and Analysis) by A. B. Marx in Front Matter
- Franz Schubert: Sexuality, Subjectivity, Song (Cambridge Studies in Music Theory and Analysis) by Lawrence Kramer in Front Matter
- Stravinsky's Late Music (Cambridge Studies in Music Theory and Analysis) by Joseph N. Straus in Front Matter
- Stravinsky's Late Music (Cambridge Studies in Music Theory and Analysis) by Joseph N. Straus in Front Matter
- Chromatic Transformations in Nineteenth-Century Music (Cambridge Studies in Music Theory and Analysis) by David Kopp in Front Matter
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