...James William Sobaskie Schenker Studies 2 edited by Carl Schachter and Hedi Siegel New York: Cambridge University Press, 1999 xiv, 319 pp. REVIEWER James William Sobaskie Surely most of us...

...Matthew Arndt REVIEW Robert P. Morgan Becoming Heinrich Schenker: Music Theory and Ideology Cambridge University Press, 2014: xx+275 pp. ($99.00 cloth) Matthew Arndt Robert P. Morgan’s Becoming Heinrich Schenker: Music Theory...

...Bryan J. Parkhurst Schenker has a puzzling and controversial habit of claiming that musical works must be as they are and that their features are somehow necessary . I argue that Schenker's necessitarianism becomes comprehensible if it is recognized as an outgrowth of his methodological organicism...

...John Rothgeb Heinrich Schenker: Nach Tagebüchern und Briefen in der Oswald Jonas Memorial Collection, University of California, Riverside Hellmut Federhofer Studien zur Musikwissenschaft vol. 3 Hildesheim: Georg Olms, 1985 ix, 380 pp. 2001 © Yale University, New Haven, Connecticut 06520...

...Roger Kamien The Masterwork in Music: A Yearbook , 3 vols. Heinrich Schenker edited by William Drabkin translated by Ian Bent, Alfred Clayton, William Drabkin, Richard Kramer, Derrick Puffet, John Rothgeb, and Hedi Siegel Studies in Music Theory and Analysis vols. 5, 8, and 10 Ian Bent, general...

...Leslie Kinton The Art of Performance Heinrich Schenker edited by Heribert Esser translated by Irene Schreier Scott New York: Oxford Univ. Press, 2000 xxvii, 101 pp. 2001 © Yale University, New Haven, Connecticut 06520 2001 The Art of Performance Heinrich Schenker edited by Heribert...

...William Rothstein Articles on Schenker and Schenkerian theory in The New Grove Dictionary of Music and Musicians , 2nd edition edited by Stanley Sadie executive editor John Tyrrell New York: Grove's Dictionaries, 2001 also available online (by subscription) at <> 2001 © Yale...

...Matthew Arndt As a comparative reading informed by recent work in integration theory and metaphor theory shows, Heinrich Schenker's and Arnold Schoenberg's Harmonielehren adumbrate broader theories of composition based in part on a conception of the tone as a partly unconsciously perceived, living...

...David Smyth 1999 © Yale University, New Haven, Connecticut 06520 1999 SCHENKER’S OCTAVE LINES RECONSIDERED David Smyth Of three background configurations formulated by Schenker, the Ur- linie that descends through an entire octave...

...Stephen Peles Schenker's Argument and the Claims of Music Theory Leslie D. Blasius Studies in Music Theory and Analysis vol. 9 New York: Cambridge University Press, 1996 200 pp. 2001 © Yale University, New Haven, Connecticut 06520 2001 NOTES 1...

.... J. Edward Chamberlin and Sander L. Gilman (New York: Columbia University Press, 1985). Since the publication of Blasius’s book there has been an increasing amount of research suggesting that Austrian intellectuals of Schenker’s generation represent a distinct national...

...Diego Cubero The concept of prolongation in Schenkerian analysis broadly describes the elaboration of a vertical sonority. Among the most basic ways to prolong a chord is by arpeggiating it, such that it governs the time span of its arpeggiation. In Heinrich Schenker's writings, however...

...Robert P. Morgan Taking my own Schenker-derived view of dissonant prolongations as a point of departure, this article attempts to clarify this phenomenon by considering it in relation to tonal prolongation. This is accomplished in three ways: by reconsidering Schenker's mature attitude toward...

... was nevertheless unprepared for William Rothstein’s sarcasm concerning an article of mine in his review of “Arti- cles on Schenker and Schenkerian Theory in The New Grove Dictionary of Music and Musicians” in a recent volume of this journal (Vol. 45, No. 1 [Spring 2001], 204–26). While I am more than willing...

... was nevertheless unprepared for William Rothstein’s sarcasm concerning an article of mine in his review of “Arti- cles on Schenker and Schenkerian Theory in The New Grove Dictionary of Music and Musicians” in a recent volume of this journal (Vol. 45, No. 1 [Spring 2001], 204–26). While I am more than willing...

... Schenker denies that mixture is a chromatic phe- nomenon. For the record, here is the passage in its entirety (English ed., p. 289n.; German, p. 380n I am referring here only to chromaticism in the service of tonicization, i.e., of the scale-steps of the diatonic system. That other phenomenon...

..., no interruption of a fundamental line in the strictest sense (no the situation is, rather, Indeed, the is maintained unabated throughout, in the background, and in fact does not really descend at all in the sense of a fundamental line (as explained below). What does this mean with regard to Schenker s concept...

... unity is one that is especially privileged. This bias is evident in Schenker’s the- ory, which devalues, marginalizes, or even ignores works that are not tonally unified. And yet, as many have argued, his theory can provide a useful point of departure for grasping the very music that, to some de...

...), the music critic Paul Bekker (1882–1937), and the theorists Heinrich Schenker (1868–1935) and Ernst Kurth (1886–1946). What Rothfarb terms Halm’s “populist instincts” (x) were energized through his collaboration with Wynecken at a boarding school in Haubinda (1903–6) and more significantly...

... . Review of Hucbald, Guido, and John on Music: Three Medieval Treatises, trans. Warren Babb, ed. Claude Palisca; and Commemoratio Brevis de Tonis et Psalmis Modulandis, trans. and ed. Terence Bailey. Journal of Music Theory 24/2 : 268 –77. Ayotte, Benjamin McKay. 2004 . Heinrich Schenker: A Guide...