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Heinrich Schenker was a Galician-born Austrian music theorist whose writings have had a profound influence on subsequent musical analysis. His approach, now termed Schenkerian analysis, was most fully explained in a three-volume series, Neue musikalische Theorien und Phantasien, which included Harmony (1906), Counterpoint, and Free Composition (1935).
Schenkerian analysis is a method of analyzing tonal music based on the theories of Heinrich Schenker (1868–1935). The goal is to demonstrate the organic coherence of the work by showing how the "foreground" relates to an abstracted deep structure, the Ursatz. This primal structure is roughly the same for any tonal work, but a Schenkerian analysis shows how, in each individual case, that structure develops into a unique work at the foreground. A key theoretical concept is "tonal space". The intervals between the notes of the tonic triad in the background form a tonal space that is filled with passing and neighbour tones, producing new triads and new tonal spaces that are open for further elaborations until the "surface" of the work is reached.
The original Tristan chord is heard in the opening phrase of Richard Wagner's opera Tristan und Isolde as part of the leitmotif relating to Tristan. It is made up of the notes F, B, D♯, and G♯:
In Classical music theory, a Neapolitan chord is a major chord built on the lowered (flatted) second (supertonic) scale degree. In Schenkerian analysis, it is known as a Phrygian II, since in minor scales the chord is built on the notes of the corresponding Phrygian mode.
Voice leading is the linear progression of individual melodic lines and their interaction with one another to create harmonies, typically in accordance with the principles of common-practice harmony and counterpoint.
Felix Salzer was an Austrian-American music theorist, musicologist and pedagogue. He was one of the principal followers of Heinrich Schenker, and did much to refine and explain Schenkerian analysis after Schenker's death.
In music theory, prolongation is the process in tonal music through which a pitch, interval, or consonant triad is considered to govern spans of music when not physically sounding. It is a central principle in the music-analytic methodology of Schenkerian analysis, conceived by Austrian theorist Heinrich Schenker. The English term usually translates Schenker's Auskomponierung. According to Fred Lerdahl, "The term 'prolongation' [...] usually means 'composing out' ."
The Mannes School of Music, originally called the David Mannes Music School and later the Mannes Music School, Mannes College of Music, the Chatham Square Music School, and Mannes College: The New School for Music, is a music conservatory in The New School, a private research university in New York City. In the fall of 2015, Mannes moved from its previous location on Manhattan's Upper West Side to join the rest of the New School campus in Arnhold Hall at 55 W. 13th Street.
Edward Aldwell was an American pianist, music theorist and pedagogue.
Counterpoint is the second volume of Heinrich Schenker's New Musical Theories and Fantasies. It is divided into two "Books", the first published in 1910, and the second in 1922.
In Schenkerian analysis, the fundamental structure describes the structure of a tonal work as it occurs at the most remote level and in the most abstract form. A basic elaboration of the tonic triad, it consists of the fundamental line accompanied by the bass arpeggiation. Hence the fundamental structure, like the fundamental line itself, takes one of three forms, according to which tonic triad pitch is the primary tone. The example hereby shows a fundamental structure in C major, with the fundamental line descending from scale degree :
The Urlinie offers the unfurling (Auswicklung) of a basic triad, it presents tonality on horizontal paths. The tonal system, too, flows into these as well, a system intended to bring purposeful order into the world of chords through its selection of the harmonic degrees. The mediator between the horizontal formulation of tonality presented by the Urlinie and the vertical formulation presented by the harmonic degrees is voice leading.
The upper voice of a fundamental structure, which is the fundamental line, utilizes the descending direction; the lower voice, which is the bass arpeggiation through the fifth, takes the ascending direction. [...] The combination of fundamental line and bass arpeggiation constitutes a unity. [...] Neither the fundamental line nor the bass arpeggiation can stand alone. Only when acting together, when unified in a contrapuntal structure, do they produce art.
Music Forum was an academic journal specializing in music theory and analysis, with a particular focus on Schenkerian theory and analysis. It was published between 1967 and 1987.
Charles Burkhart is an American musicologist, theorist, composer, and pianist. He holds the title of Professor Emeritus in the Aaron Copland School of Music, Queens College, and the Graduate Center, City University of New York. He is known especially as a scholar in Schenkerian analysis and as a successful lecturer and master class presenter.
In Schenkerian analysis, a structural level is a representation of a piece of music at a different level of abstraction, with levels typically including foreground, middleground, and background. According to Schenker musical form is "an energy transformation, as a transformation of the forces that flow from background to foreground through the levels."
This is a glossary of Schenkerian analysis, a method of musical analysis of tonal music based on the theories of Heinrich Schenker (1868–1935). The method is discussed in the concerned article and no attempt is made here to summarize it. Similarly, the entries below whenever possible link to other articles where the concepts are described with more details, and the definitions are kept here to a minimum.
Ernst Oster was a German pianist, musicologist, and music theorist. A specialist in the use of Schenkerian Analysis, he was the English translator of Heinrich Schenker's final work, Free Composition.
Giorgio Sanguinetti is an Italian musicologist, music historian and music theorist. He is best known as the author of The Art of Partimento: History, Theory, and Practice, the first monograph dedicated to the history, theory, and practice of partimento instruction as practiced in the music conservatories of Naples from the end of the 17th century to the middle of the 19th century. Sanguinetti is full professor of theory and analysis of music at the University of Rome Tor Vergata.
Timothy L. Jackson is an American professor of music theory who has spent most of his career at the University of North Texas and specializes in music of the eighteenth through twentieth centuries, Schenkerian theory, politics and music. He is the co-founder of the Journal of Schenkerian Studies. In 2020, he became controversial for editing a special issue of that journal containing articles criticizing Philip Ewell's plenary talk "Music Theory's White Racial Frame".
Matthew G. Brown is a British-American music theorist, musicologist, educator, and artistic director. He is Professor of Music Theory at Eastman School of Music.
References
- 1 2 "Carl E. Schachter," in "New Jersey, Passenger and Crew Lists, 1956-1964" on Ancestry.com
- ↑ "Carl Schachter" in "U.S. School Yearbooks, 1900-1990" on Ancestry.com.
- ↑ Aldwell & Schachter 2003
- Aldwell, Edward; Schachter, Carl (2003), Harmony and Voice Leading (3 ed.), Australia, United States: Thomson/Schirmer, ISBN 0-15-506242-5, OCLC 50654542 LCC MT50 A444 2003
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