New Horizons in Schenkerian Research

Description

New Horizons in Schenkerian Research is a collection of essays representing an overview of scholarship in the work of Heinrich Schenker. The volume is diverse and includes the work of authors in the United States, Austria, and Germany. Current research involves four broad categories: Theory and Influence, Analysis, History and Reception, and Cultural Studies. This volume presents articles by senior scholars who have been involved in Schenker's work for decades. A unique feature of New Horizons is the inclusion of German-speaking authors. Although Schenker lived and worked in fin de siècle Vienna, the early dissemination of his ideas occurred in the United States in the 1930s and 1940s. More recently, scholars in Germany and Austria have contributed their own research to the canon of Schenker studies. This eclectic collection bears testimony to the enduring relevance of Schenker's ideas in music scholarship of the twentieth and twenty-first centuries. Allen Cadwallader, Karen M. Bottge, Oliver Schwab-Felisch (Hg.): New Horizons in Schenkerian Research (STUDIEN UND MATERIALIEN ZUR MUSIKWISSENSCHAFT, Band 115, Vol. 1) Vol. 1 - Texts Contents Foreword Part I: Theory and Influence 1 Schenker and the Fundamental Bass (WILLIAM ROTHSTEIN) Works Cited 2 Schenker and Sechter: A Discontinuous History (MARTIN EYBL) Introduction Schenker and Sechter: Fundamental Bass, Voice Leading, and Scale Step The Fractal Structure of Tonality and the Harmonic Foundation of Form The Juxtaposition of Melody and Harmony The Interaction between Melody and Harmony Sechter’s Legacy Works Cited 3 Schenker’s “Free Forms of Interruption” and the Strict:Toward a General Theory of Interruption (FRANK SAMAROTTO) Introducing the Problem Schenker’s Freest Form of Interruption Toward a Generalized Theory Analytical Applications 1. The Free Interruption 5–4 ( ) \\ 5–4–3–2–1 2. The Free Interruption I–III \\ I–III (I6)–IV (II6) –V–I 3. Reprise as Sign of Free Interruption 4. Free Interruption as Substitute for Half Cadence Tentative Conclusions Works Cited 4 The “heilige Trapezoid” and the Galant Recapitulation (L. POUNDIE BURSTEIN) The Sacred Triangle Developments that Conclude on Non-Dominants Reconciling a Non-Dominant Approach to the Reprise with the “Sacred Triangle" Implied V at the End of the Development Harmony Inserted in the Middle of a V–I motion Onset of Reprise Embedded within a Larger Motion Solar Tonal Interpretations of Non-Dominant Approaches to the Reprise Hasse’s Overture I to Alcide al Bivio Joseph Haydn’s Symphony No. 56, Finale Triangles and Trapezoids The sacred and the profane Works Cited Part II: Analysis 5 Chopin’s Mazurka, Op. 59, No. 2: A Tribute to Mendelssohn? (CARL SCHACHTER) Similarities The Move to the Mediant Rhythmic Idiosyncrasies in Mendelssohn’s Op. 62, No. 1 The Mazurka: Phrase Overlap and Harmonic Expansion Further Considerations: Harmonic Expansion in Chopin’s Op. 59, No. 2 Works Cited 6 J. S. Bach’s Fugue in B minor, BWV 869:Rameau oder Schenker? (ERIC WEN) The Fugue Subject The Answer in Combination with the Countersubject Subsequent Appearances of the Fugue Theme Works Cited 7 Schenker, Sonata Form, and the Schubert Symphonies (DAVID BEACH) One Movement that Conforms both to the Classical Model and to Schenker’s Conception of its Structure Minor Variants of the Classical Model Examples of Non-Tonic Formal Recapitulations Tonic Returns That May Function as V of IV A Special Case Conclusion Works Cited 8 Displacement, Superimposition, and Dissonance in Ravel’s Late Style (SIGRUN HEINZELMANN) Introduction Displacement Superimposition Conclusion Works Cited 9 Motivic Elaboration and Chromaticism in the Andante cantabile of Mozart’s Piano Sonata in B! Major, K. 333 (ROGER KAMIEN) Exposition Opening Theme Bridge Second Theme Closing Theme and Codetta Tonal Overview of the Movement Development Section Section 1 Section 2 Section 3 Recapitulation First theme Bridge Second theme Closing Theme and Codetta Conclusion Works Cited Part III: History and Reception 10 The Reception of Heinrich Schenker’s Music Theory in German-Speaking Countries After 1945 (OLIVER SCHWAB-FELISCH) Part 1: 1945–2000 Schenkerians and Others Four Explanations Expulsion and Music-Theoretical Counter-Discourse Continuity Analysis and Historical Musicology Aesthetics and Politics Open Questions System Method and Particularity Physiognomy and Truth Content In Place of a Summary Part 2: 2000–2021 Countries and Institutions Austrian Conservatories German Conservatories Austrian Universities German Universities Conferences and Workshops Selected Topics Functionality: Basic Concepts Functionality: Theoretical Background System and History Satzmodelle and Schenkerian Analysis Criticism of Ideology Ideology and Rational Reconstruction Scientificity Expansion of the Spectrum Other Topics Conclusion Works Cited 11 Heinrich Schenker and August Halm (PATRICK BOENKE) Introduction Common Positions Halm’s Objections to Schenker’s Analytical Approach The Case for Bruckner Opposing Perspectives on Form Works Cited Part IV: Cultural Studies 12 Musical Justice and Tonal Inequalityin the Theory of Heinrich Schenker (WAYNE ALPERN) Aesthetic Justice Schenker’s Legal Education Schenker’s Law Professors The Juridification of Music Jellinek and German Jurisprudence Special German Path Teutonic Rechtsstaat Classical Theory of Justice German Theory of Justice Modern Theory of Justice Tonality and Cognition Schenkerian Theory as a System of Musical Adjudication Justice and Judaism Schenkerian Justice Works Cited 13 Race, Nation, and Jewish Identity in the Thought of Heinrich Schenker (BARRY WIENER) Schenker, Race, and Culture Schenker the Jew Schenker, World War I, and the Jews After the War: The Politics of Nostalgia Schenker’s Postwar Political Philosophy Schenker, the Genius, and the Germans Schenker and Nazism Negotiating a Path Through a Hostile World Schenker and Racism Schenker in America Some Concluding Thoughts Works Cited INDEX OF COMPOSERS AND AUTHORS INDEX OF SUBJECTS Allen Cadwallader, Karen M. Bottge, Oliver Schwab-Felisch (Hg.): New Horizons in Schenkerian Research (STUDIEN UND MATERIALIEN ZUR MUSIKWISSENSCHAFT, Band 115, Vol. 2) Vol. II- Examples Contents 1 Schenker and the Fundamental Bass (WILLIAM ROTHSTEIN) 2 Schenker and Sechter: A Discontinuous History (MARTIN EYBL) 3 Schenker’s “Free Forms of Interruption” and the Strict:Toward a General Theory of Interruption (FRANK SAMAROTTO) 4 The “heilige Trapezoid” and the Galant Recapitulation (L. POUNDIE BURSTEIN) 5 Chopin’s Mazurka, Op. 59, No. 2: A Tribute to Mendelssohn? (CARL SCHACHTER) 6 J. S. Bach’s Fugue in B minor, BWV 869:Rameau oder Schenker? (ERIC WEN) 7 Schenker, Sonata Form, and the Schubert Symphonies (DAVID BEACH) 8 Displacement, Superimposition, and Dissonance in Ravel’s Late Style (SIGRUN HEINZELMANN) 9 Motivic Elaboration and Chromaticism in the Andante cantabile of Mozart’s Piano Sonata in B! Major, K. 333 (ROGER KAMIEN) 11 Heinrich Schenker and August Halm (PATRICK BOENKE)