The study of Viennese theory has developed widely since Schoenberg educated a generation of American musicians during the 1930s and 1940s. This volume is a critical survey of primary materials: Viennese treatises on harmony, together with some unpublished material, from the late 18th to the 20th centuries, concentrating on the dominant line of fundamental bass thinking which extends throughout the 19th century to Schenker and Schoenberg. Taking a chronological approach, Robert Wason traces the roots of Viennese harmonic theory to the figured bass theory of the 18th century; he discusses the mixture of figured bass and Rameauian harmony that characterizes most Viennese theory between roughly 1800 to 1850, and he considers Sechter's mid-century revival of Rameau's "basse fondamentale". Of especial importance is an exploration of Bruckner's reinterpretation of Sechter's system, and its later revisions, which is followed by a study of the early 20th-century attempts to resolve the crisis in which the theory found itself at the hands of Bruckner. The book also synthesizes the results of a large number of recent German and Austrian studies of 19th-century harmonic theory, presenting these from the point of view of an American theorist.
--This text refers to an out of print or unavailable edition of this title.
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