...Matthew Arndt Matthew Arndt is assistant professor of music theory at the University of Iowa. Morgan Robert P. . Becoming Heinrich Schenker: Music Theory and Ideology . Cambridge University Press , 2014 : xx+275 pp . ( $99.00 cloth) © 2016 by Yale University 2016...

...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...

...James William Sobaskie Schenker Studies 2 edited by Carl Schachter and Hedi Siegel New York: Cambridge University Press, 1999 xiv, 319 pp. 2001 © Yale University, New Haven, Connecticut 06520 2001 Schenker Studies 2 edited by Carl Schachter and Hedi Siegel New York: Cambridge...

...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...

...David Neumeyer Schenker's Interpretive Practice Robert Snarrenberg Studies in Music Theory and Analysis vol. 11 New York: Cambridge Univ. Press, 1997 xxiii, 175 pp. 2001 © Yale University, New Haven, Connecticut 06520 2001 of that anxiety is offered by Max Nordau (1849–1923...

...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...

... pointed out to him, the passage in Har- monielehre in which 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...

... below). What does this mean with regard to Schenker s concept of interruption as a basic characteristic of sonata form? For those movements in which the remains on top while an inner voice proceeds (viz. such as this movement, or K. 333, Beethoven s op. 14/I, Seventh Symphony, Clementi s op. 36/4...

... structure: which is more important? With their different answers to this fundamental question, the resulting theories are as divergent as Heinrich Schenker's near-total emphasis on tonal structure and J. C. Lobe's equally single-minded interest in thematic design. A related and equally important question...

... . Oxford History of Music , vol. 7 , Symphony and Drama, 1850 -1900. London: Oxford University Press. Dahlhaus, Carl. 1991 . Ludwig van Beethoven: Approaches to His Music . Trans. Mary Whittall. Oxford: Clarendon Press. Federhofer, Hellmut, ed. 1990 . Heinrich Schenker als Essayist und Kritiker...

... (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 at the Freie  schulgemeinde...