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  1. Home
  2. Books
  3. Becoming Heinrich Schenker
  • Cited by 10
Publisher:
Cambridge University Press
Online publication date:
August 2014
Print publication year:
2014
Online ISBN:
9781107705579
DOI:
https://doi.org/10.1017/CBO9781107705579
Subjects:
Twentieth-Century and Contemporary Music, Music, Music Criticism
Information

Book description

Much controversy surrounds Schenker's mature theory and its attempt to explain musical pitch motion. Becoming Heinrich Schenker brings a new perspective to Schenker's theoretical work, showing that ideas characteristic of his mature theory, although in many respects fundamentally different, developed logically out of his earlier ideas. Robert P. Morgan provides an introduction to Schenker's mature theory and traces its development through all of his major publications, considering each in detail and with numerous music examples. Morgan also explores the relationship between Schenker's theory and his troubled ideology, which crucially influenced the evolution of his ideas and was heavily dependent upon both the empirical and idealist strains of contemporary German philosophical thought. Relying where possible on quotations from Schenker's own words, this book offers a balanced approach to his theory and a unique overview of this central music figure, generally considered to be the most prominent music theorist of the twentieth century.

Reviews

'A major contribution to the scholarly literature on one of the most important (and controversial) music theorists of the twentieth century, Becoming Heinrich Schenker traces the emergence and development of Schenker’s mature theory through each of his published works. The book provides commentary on existing Schenker literature and on translations of and scholarship on his work, including extensions of the analytical techniques … [It] will be an important companion resource for anyone studying Schenkerian analysis … Highly recommended …'

C. A. Traupman-Carr Source: Choice

'Morgan’s writing is clear, concise, well-organized, and persuasive … Throughout his book, Morgan shows impressive command of primary and secondary literature and provides thoughtful commentary on the controversy surrounding Schenker … Morgan’s work is knowledgeable, accessible, and provocative.’

Brien Weiner Source: Notes: Quarterly Journal of the Music Library Association

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Contents

Contents
References

Works cited

Works by Heinrich Schenker

(1903/1908). Ein Beitrag zur Ornamentik, als Einführung zu Ph. Emanuel Bachs Klavierwerken, mitumfassend auch die Ornamentik Haydns, Mozarts, Beethovens, etc. (Vienna: Universal Edition, 1903); rev. 2nd edn., 1908. “A Contribution to the Study of Ornamentation,” translation of the 2nd edn. by Hedi Siegel, The Music Forum IV (1976), pp. 1–139.
(1906/1954). Neue musikalische Theorien und Phantasien I: Die Harmonielehre (Berlin and Stuttgart: J. G. Cotta Verlag, 1906); reprinted by Universal Edition, 1978. Harmony, partially translated by Elizabeth Mann Borghese (University of Chicago Press, 1954).
(1910a/1987). Neue musikalische Theorien und Phantasien II: Kontrapunkt I (Berlin and Stuttgart: J. G. Cotta Verlag, 1910); reprinted by Georg Olms Verlag, 1991. Counterpoint I, translated by John Rothgeb and Jürgen Thym (New York: Schirmer Books, 1987).
(1910b/1984). J. S. Bach, Chromatische Phantasie und Fuge D-moll: Kritische Ausgabe mit Anhang (Vienna: Universal Edition, 1910); rev. edn. 1969. J. S. Bach’s Chromatic Fantasy and Fugue, translated by Hedi Siegel (New York: Longman, 1984).
(1912/1992). Beethovens Neunte Symphonie: Eine Darstellung des musikalischen Inhalten unter fortlaufender Berücksichtung auch des Vortrags und der Literatur (Vienna: Universal Edition, 1912). Beethoven’s Ninth Symphony, translated by John Rothgeb (New Haven, Conn.: Yale University Press, 1992).
(1913/1971a). Die letzten fünf Sonaten von Beethoven, Kritische Ausgabe mit Einführung und Erläuterung (Vienna, Universal Edition): Sonate E dur Op. 109 (1913); rev. edn., edited by Oswald Jonas, 1971.
(1914/1972a). Die letzten fünf Sonaten von Beethoven, Kritische Ausgabe mit Einführung und Erläuterung (Vienna, Universal Edition): Sonate As dur Op. 110 (1914); rev. edn., edited by Oswald Jonas, 1972.
(1915/1971b). Die letzten fünf Sonaten von Beethoven, Kritische Ausgabe mit Einführung und Erläuterung (Vienna, Universal Edition): Sonate C moll Op. 111 (1915); rev. edn., edited by Oswald Jonas, 1971.
(1921/1972b). Die letzten fünf Sonaten von Beethoven, Kritische Ausgabe und Einführung mit Erläuterung (Vienna, Universal Edition): Sonate A dur Op. 101 (1921); rev. edn., edited by Oswald Jonas, 1972.
(1921–24/2004–05). Der Tonwille.10 issues: (1) 1921; (2) 1922; (3) 1922; (4) 1923; (5) 1923; (6) 1923; (7) 1924; (8/9) 1924; (10) 1924 (Vienna, Universal Edition). Der Tonwille, various translators, edited by William Drabkin in two volumes (Oxford University Press, 2004–05).
(1922/1987). Neue musikalische Theorien und Phantasien II: Kontrapunkt II (Vienna: Universal Edition, 1922); reprinted by Georg Olms Verlag, 1991. Counterpoint II, translation by John Rothgeb and Jürgen Thym (New York: Schirmer Books, 1987).
(1925/1994), (1926/1996), (1930/1997). Das Meisterwerk in der Musik: Ein Jahrbuch (Munich; Vienna: Drei Masken Verlag, 1925, 1926, 1930). The Masterwork in Music, various translators, edited by William Drabkin in three volumes (Cambridge University Press, 1994, 1996, 1997).
(1932/1969b). Fünf Urlinie-Tafeln / Five Analyses in Sketchform (New York: David Mannes School, 1932). Five Graphic Music Analyses, edited, translated, and with a new introduction by Felix Salzer (New York: Dover Publications, 1969).
(1935/1979). Der freie Satz (Vienna: Universal Edition, 1935); rev. edn., edited by Oswald Jonas (Vienna: Universal Edition, 1956). Free Composition, translated and edited by Ernst Oster in two volumes (New York: Longman, 1979).
(1985). Heinrich Schenker nach Tagebüchern und Briefen, edited by Hellmut Federhofer (Hildesheim: Georg Olms Verlag).
(1990/1988). Heinrich Schenker als Essayist und Kritiker: gesammelte Aufsätze, Rezensionen und kleinere Berichte aus den Jahren 1891–1901, Hellmut Federhofer (ed.) (Hildesheim: Georg Olms Verlag, 1990). “Der Geist der musikalischen Technik,” translated by William Pastille, Theoria 3 (1988), pp. 86–104. (Article partially translated in Pastille (1984)).
(2005). Über den Niedergang der Kompositionskunst (“The Decline of the Art of Composition”), unfinished book edited and translated by William Drabkin, published in both German and English, Music Analysis 24/1–2, pp. 1–232.

Works by others

Alberti, Leon Batista. (1955). Ten Books of Architecture, translated into Italian by Cosimo Batoli and into English by James Leoni, edited by Joseph Rykwert (London: A. Taranti).
Alpern, Wayne. (1999). “Music Theory as a Mode of Law: The Case of Heinrich Schenker, Esq.,” Cardozo Law Review 205–06, pp. 1459–1511.
Baker, James M. (1990). “Voice-Leading in Post Tonal Music: Suggestions for Extending Schenker’s Theory,” Music Analysis 9/2, pp. 177–200.
Barford, Philip. (1975). “Music in the Philosophy of Schopenhauer,” Soundings 5, pp. 29–43.
Bent, Ian. (2005). “‘That Bright New Light’: Schenker, Universal Edition, and the Origins of the Erläuterung Series, 1901–1910,” Journal of the American Musicological Society 28/1 (Spring), pp. 69–138.
Bent, Ian and Drabkin, William. “Schenker Documents Online,” www.schenkerdocumentsonline.org/colloquy/heinrich_schenker.html.
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Blasius, Leslie David. (1996). Schenker’s Argument and the Claims of Music Theory (Cambridge University Press).
Brown, Matthew. (1991). Review of Schenker Studies, edited by Hedi Siegel, Music Theory Spectrum 13/2, pp. 265–73.
Brown, Matthew. (2006). Explaining Tonality: Schenkerian Theory and Beyond (University of Rochester Press).
Burstein, L. Poundie. (2005). “Unraveling Schenker’s Concept of the Auxiliary Cadence,” Music Theory Spectrum 27/2 (Fall), pp. 159–85.
Cadwallader, Allen. (1998). Analysis of Tonal Music (Oxford University Press).
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Christensen, Thomas, ed. (2002). The Cambridge History of Western Music Theory (Cambridge University Press).
Clark, Suzannah. (1999). “Schenker’s Mysterious Five,” 19th-Century Music 23/1, pp. 84–102.
Clifton, Thomas. (1970). “An Application of Goethe’s Concept of Steigerung to the Morphology of Diminution,” Journal of Music Theory 14/2, pp. 165–89.
Cohn, Richard. (1992a). “Schenker’s Theory, Schenkerian Theory: Pure Unity or Constructive Conflict?” Indiana Theory Review 13/1, pp. 1–19.
Cohn, Richard. (1992b). “The Anatomy of Motives in Schenkerian Accounts of Tonal Music,” Music Theory Spectrum 14/2, pp. 150–70.
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Crews, Frederick. (2011). “Physician, Heal Thyself: Part II,” The New York Review of Books 58/15, October 13.
Cumming, Naomi. (2000). The Sonic Self: Musical Subjectivity and Signification (Bloomington: Indiana University Press).
Dubiel, Joseph. (1990). “When You Are Beethoven: Kinds of Rules in Schenker’s Counterpoint,” Journal of Music Theory 34/2, pp. 291–340.
Duerksen, Marva. (2008). “Schenker’s Organicism Revisited,” Intégral 22, pp. 1–58.
Eybl, Martin. (1995). Ideologie und Methode. Zum ideengeschichtlichen Kontext von Schenkers Musiktheorie (Tutzing: Hans Schneider).
Forte, Allen. (1959). “Schenker’s Conception of Musical Structure,” Journal of Music Theory 3, pp. 1–30.
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Hepokoski, James and Darcy, Warren. (2006). Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata (New York: Oxford University Press).
Hume, David. (1978) [1739–40]. A Treatise of Human Nature, edited by L. A. Selby-Bigge (Oxford: Clarendon Press).
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Kassler, Michael. (1977). “Explication of the Middleground of Schenker’s Theory of Tonality,” Miscellanea Musicologiea: Adelaide Studies in Musicology 9/1, pp. 72–81.
Keiler, Allan. (1983). “On Some Properties of Schenker’s Pitch Derivations,” Music Perception 1/2, pp. 200–28.
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Korsyn, Kevin. (1988). “Schenker and Kantian Epistemology,” Theoria 3, pp. 1–58.
Korsyn, Kevin. (1993). “Schenker’s Organicism Reexamined,” Intégral 7, 82–118.
Korsyn, Kevin. (2009). Review of Nicholas Cook’s The Schenker Project: Culture, Race, and Music Theory in Fin-de-Siècle Vienna, Music Analysis 28/1, pp. 153–79.
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