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The Music Forum
The Music Forum
The Schenker Project
Today we think of Heinrich Schenker, who lived in Vienna from 1884 until his death in 1935, as the most influential music theorist of the twentieth century. But he saw his theoretical writings as part of a comprehensive project for the reform of musical composition, performance, criticism, and education-and beyond that, as addressing fundamental cultural, social, and political problems of the deeply troubled age in which he lived. This book aims to explain Schenker's project through reading his key works within a series of period contexts. These include music criticism, the field in which Schenker first made his name; Viennese modernism, particularly the debate over architectural ornamentati...
Der Tonwille
This is the second volume of a two-volume translation of Heinrich Schenker's Der Tonwille (1921-24). Among the foremost music theorists of the twentieth century, Schenker's methods of analysis continue to be one of the most important tools of musicology.
Der Tonwille
This is the second volume of a two-volume translation of Heinrich Schenker's Der Tonwille (1921-24). Among the foremost music theorists of the twentieth century, Schenker's methods of analysis continue to be one of the most important tools of musicology.
A Topical Guide to Schenkerian Literature
To the growing list of Pendragon Press publications devoted to the work of Heinrich Schenker, we wish to announce the addition of this much-needed bibliography. The author, a student of Allen Forte, has created a work useful to a wide range of researchers music theorists, musicologists, music librarians and teachers. The Guide is the largest Schenkerian reference work ever published. At nearly 600 pages, it contains 3600 entries (2200 principal, 1400 secondary) representing the work of 1475 authors. Fifteen broad groupings encompass seventy topical headings, many of which are divided and subdivided again, resulting in a total of 271 headings under which entries are collected.
The Masterwork in Music: Volume III, 1930
Volume III of this three-volume set is dominated by one of the eminent theorist's most celebrated studies: the analysis of Beethoven's "Eroica" Symphony. All four movements are discussed in painstaking detail.
The Art of Tonal Analysis
Carl Schachter is the world's leading practitioner of Schenkerian theory and analysis. His articles and books have been broadly influential, and are seen by many as models of musical insight and lucid prose. Yet, perhaps his greatest impact has been felt in the classroom. At the Mannes College of Music, the Juilliard School of Music, Queens College and the Graduate Center of the City University of New York, and at special pedagogical events around the world, he has taught generations of musical performers, composers, historians, and theorists over the course of his long career. In Fall 2012, Schachter taught a doctoral seminar at the CUNY Graduate Center in which he talked about the music an...
Tonality as Drama
Drawing on the fields of dramaturgy, music theory, and historical musicology, this book answers a question about twentieth-century music: Why does tonality persist in opera, even after it has been abandoned in other genres?
Schenker's Argument and the Claims of Music Theory
Heinrich Schenker's theoretical and analytical works claim to resubstantiate the unique artistic presence of the canonic work, and thus reject those musical disciplines such as psychoacoustics and systematic musicology which derive from the natural sciences. In this respect his writing reflects the counter-positivism endemic to the German academic discourse of the first decades of the twentieth century. The rhetoric of this stance, however, conceals a sophisticated programme wherein Schenker situates his project in relation to these sciences, arguing his reading of the musical text as a synthesis of a descriptive psychology and an explanatory historiography (which itself embeds both paleographic and philological assumptions). This book rereads Schenker's project as an attempt to reconstruct music theory as a discipline against the background of the empirical musical sciences of the later nineteenth century.
