...Matthew Brown; Panayotis Mavromatis REVIEWS Unfoldings: Essays in Schenkerian Theory and Analysis Carl Schachter edited by Joseph N. Straus New York: Oxford University Press, 1999 vi + 294 pp. REVIEWERS Matthew...

..., and Brahms. 18. For Schenkerian studies involving the music of Gabriel Fauré, see: Taylor Greer, “Modal Sensibility in Gabriel Fauré’s Musical Language,” Theory and Practice 16 (1991): 127–142; Edward Phillips, “Smoke, Mirrors and Prisms: Tonal Con- tradictions in Faur Music Analysis 12, no. 1...

...Kofi Agawu REVIEWS Carl Schachter. Edited by Joseph N. Straus The Art of Tonal Analysis: Twelve Lessons in Schenkerian Theory Oxford University Press, 2016: v + 295 pp. ($45.00 cloth) Kofi Agawu In a career spanning some six...

...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...

...Benjamin Givan Benjamin Givan is associate professor of music at Skidmore College. Larson Steve Analyzing Jazz: A Schenkerian Approach. Pendragon Press , 2009 : x +204 pp. ($99.00 paper) Benjamin Givan 2011 Works Cited Berry David Carson . 2004...

...Ellen Bakulina This article offers a Schenkerian interpretation of movement 12 from Sergei Rachmaninoff’s All-Night Vigil , also known as Vespers , op. 37 (1915), from the standpoint of tonal duality, known in Russian as peremennost’ , or mutability. First, I explore theoretical connections between...

... a broad and inclusive survey of the field of Schenkerian research,” according to edi- tors Carl Schachter and Hedi Siegel, who add, “It gives an accurate, if necessarily partial view of the field at the present time.”3 Their qualifica- tion is well taken, for capturing a field as diverse...

... Hepokoski and Darcy’s sonata theory, Caplin’s theory of formal functions, and Schenkerian concepts of tonal content argue in favor of a type 2 interpretation of nineteenth-century manifestations. The analyses presented demonstrate some of the ways these theories may prove mutually reinforcing, even when...

... by Robert P. Morgan David Beach’s study is what one would expect from this distinguished analyst: a first-rate analytical presentation, done from an unambiguously Schenkerian perspective. Here his focus is on one particular aspect of the music: intramovement and intracompositional motivic...

..., the period of repertoire discussed, and major composers or theorists they were devoted to. Among the major findings, one can trace in a precise manner the centripetal process toward focus on Schenkerian and set theories (and the more recent opposite process), the almost total separation of discussions...

... as a theorist with expertise in Schenkerian analysis and philosophy of music, brings each of these competencies to bear throughout this ambitious study.9 The volume opens with a brief “analytical teaser,” examining the min- uet from Beethoven’s Sonata in E major, op. 14/1, which offers a preview...

... “becoming” are often complemented by Schenkerian analysis. As Schmal- feldt acknowledges (13), Schenker’s view of form as originating from the composing-out of the background contradicts Formenlehre approaches that take foreground elements as their first principles...

... is available—perhaps more than for any other period of music history. Roman numeral analysis is, of course, appropriate—if it is ever appropriate—and is often a starting point. For Schenkerian analysis, the “classical” period (the scare quotes will be explained below) has a prominent, perhaps even...

... Schenkerians) and the artistic or aesthetic (information on which is more readily available now, thanks to critical editions and translations of many of Schenker’s publications).1 190 Sobaskie observes that the more recent publications “reveal that one of Schenker’s most cherished hopes was for a real...

... for the sonorities involved (as defined by Schenkerian analysis), and the interconnection of these sonorities in processes of motivic development. Through this motivic interconnection, the sonorities achieve an ontological status partially independent of their individual linear-contrapuntal environments. Each...

... would be some kind of represen- tation of this hierarchical arrangement of key sections. Analyses of this kind are almost never seen in current music-theoretical literature. (One might think of Schenkerian analysis, but this is very different from key analysis. Key sections frequently do...

....” Perspectives of New Music 25/1–2 : 592 –607. Berry, David Carson. 2004 . A Topical Guide to Schenkerian Literature: An Annotated Bibliography with Indices . Hillsdale, NY: Pendragon. Berry, David Carson. 2005. “Schenkerian Theory in the United States: A Review of Its Establishment and a Survey...

... clearly conveys the primacy of the former in Schenkerian thinking, and indeed his main reason for tak- ing an interest in design at all is that it may help the analyst deduce structure. Rothstein (1989, 104), in a similar and particularly clear formulation of the distinction, writes: “The thematic...

...). Every published Schenkerian analysis of an improvisation by Bill Evans includes such confirmations. They occur in a live recording of “ ’Round Midnight” (Larson 1987). They also occur in his improvisa­...

... the word broadly, to include theory) of specific popular music repertoires should have been Schenkerian!—by which I mean that the two household names of Schenkerian exegesis, Forte and the late Steven Gilbert, authors of the Introduction to Schenkerian Analysis of 1982,2 should both have followed up...