Relevant bibliographies by topics / Heinrich Schenker

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Academic literature on the topic 'Heinrich Schenker'

Author: Grafiati
Published: 4 June 2021
Last updated: 19 February 2022

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Journal articles on the topic "Heinrich Schenker"

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Koslovsky, John. "Heinrich Schenker, Walter Dahms, and the Music of the South." Journal of Musicology 34, no. 3 (2017): 391–431. http://dx.doi.org/10.1525/jm.2017.34.3.391.

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In recent years scholars have made great strides in contextualizing the theories of Heinrich Schenker (1868−1935) within the politics and culture of the interwar period. Many of Schenker’s closest pupils and disciples have now also come under investigation. Few present as bewildering a story as Walter Dahms (1887−1973), a music critic and one of Schenker’s fiercest advocates in the German press. Though they met on just one occasion, Dahms and Schenker corresponded extensively over a period of eighteen years (1913−31), revealing a mutual concern for the social and political climate of interwar Germany. In some cases their correspondence served as a springboard for many of the extra-musical ideas Schenker published in his analytical pamphlets of the 1920s, Der Tonwille and Das Meisterwerk in der Musik. In other cases it demonstrated Dahms’s and Schenker’s bitter disagreements about the Great War and its main perpetrators. Along with an array of articles he wrote on Schenker, Dahms published two books that brought Friedrich Nietzsche’s notion of the “Music of the South” into contact with Schenker’s developing theories of musical structure. Dahms further proposed a concept of “vocality” that he saw as the key to restoring the notion of musical genius in Western music. Schenker’s analysis of Mendelssohn’s Venetianisches Gondellied in F-sharp minor, op. 30, no. 6, published in issue 10 of Der Tonwille, unearths Schenker’s own take on the South and on Dahms’s vocal principle. In the end, this case study exemplifies the intermingling of aesthetic, performative, and analytical concerns within Schenker’s work at this time, and it exposes the many ideological tensions between Schenker’s and Dahms’s outlooks on music, culture, and politics.
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Cook. "HEINRICH SCHENKER, ANTI-HISTORICIST." Revista de Musicología 16, no. 1 (1993): 420. http://dx.doi.org/10.2307/20795900.

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Gut, Serge, Nicolas Meuùs, and Nicolas Meuus. "Heinrich Schenker: une introduction." Revue de musicologie 82, no. 2 (1996): 377. http://dx.doi.org/10.2307/947145.

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Rink, John, and Nicolas Meeus. "Heinrich Schenker: une introduction." Music Analysis 15, no. 2/3 (July 1996): 367. http://dx.doi.org/10.2307/854068.

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Rothfarb, Lee. "August Halm on Body and Spirit in Music." 19th-Century Music 29, no. 2 (2005): 121–41. http://dx.doi.org/10.1525/ncm.2005.29.2.121.

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This article explores and explains August Halm's and Heinrich Schenker's differing opinions of Brahms and Bruckner based on Halm's notions of corporeality and spirituality, body and soul, in music, and on differences in symphonic style between the two composers. Corporeality manifests itself in thematic gestures whose contours trace distinctive shapes in music's imaginary space, resulting in the impression of depth, something metaphorically tangible. When the dynamic course of a passage is clearly manifest in the aural immediacy of its rhythmic and thematic gestures, Halm acknowledges its corporeality (Korperlichkeit). When a work's dynamic course is concealed or musically too subtle to be readily perceived, it exemplifies a different quality, spirituality (Geistigkeit), which resides in between the notes and occurs, so to speak, subterraneously. Schenker's Urlinie was thus for Halm a case of unnecessarily "spiritualizing the spiritual yet again."Halm's advocacy for Bruckner's symphonies as marking the beginning of "a new era and culture" was incomprehensible for Schenker, who conceded to Bruckner only a "very modest power of invention." SchenkerÕs unqualified enthusiasm for Brahms, on the other hand, the "last master of German composition," gave Halm a "painful jolt." For Halm, Bruckner is a "cosmic epicist," for Schenker "too much a foreground composer." Letters between Schenker and Halm as well as other, hitherto unknown archival materials among Halm's estate papers delineate Halm's views in contrast to those of Schenker.
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Jackson, Timothy L. "Heinrich Schenker as Composition Teacher: The Schenker-Oppel Exchange." Music Analysis 20, no. 1 (March 2001): 1–115. http://dx.doi.org/10.1111/1468-2249.00129.

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HEWLETT, KIRSTIE. "Heinrich Schenker and the Radio." Music Analysis 34, no. 2 (July 2015): 244–64. http://dx.doi.org/10.1111/musa.12050.

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Marvin, William M. "Schenker Documents Online." Nineteenth-Century Music Review 14, no. 2 (November 17, 2016): 303–7. http://dx.doi.org/10.1017/s1479409816000537.

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The unpublished work of Heinrich Schenker (1868–1935) has long fascinated scholars interested in the origins and development of his analytic method. Most of his unpublished papers can be found in two archives: the Oster Collection, housed in the New York Public Library, and the Oswald Jonas Memorial Collection, located at the University of California at Riverside.1.
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DEISINGER, MARKO. "Heinrich Schenker and the Photogram Archive." Music Analysis 34, no. 2 (June 8, 2015): 221–43. http://dx.doi.org/10.1111/musa.12046.

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Kassler, Michael. "Heinrich Schenker counterpoint: A translation ofKontrapunkt." Musicology Australia 13, no. 1 (January 1990): 54–55. http://dx.doi.org/10.1080/08145857.1990.10420663.

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Dissertations / Theses on the topic "Heinrich Schenker"

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Keil, Werner. "Heinrich Schenker als Herausgeber." Allitera Verlag, 2016. https://slub.qucosa.de/id/qucosa%3A23342.

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Hewlett, Kirstie. "Heinrich Schenker and the radio." Thesis, University of Southampton, 2014. https://eprints.soton.ac.uk/378136/.

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Heinrich Schenker (1868–1935) had a radio installed in his home on 19th October 1924 – less than three weeks after the inauguration of Radio Wien, Austria’s first Official radio station. Almost overnight it became his primary source of exposure to the cultural life of Vienna, with references to over 1,000 broadcasts of concerts, plays and talks appearing in his diary from the day his receiver was installed until his death in January 1935. This abundant record of his listening habits offers a rare glimpse into the breadth of Schenker’s private interests. Not only do his accounts of broadcasts touch on an eclectic array of music dating from the Middle Ages to the present day as well as a variety of spoken-word programmes, they also illuminate how he used this novel technology to increase his access to the arts. He embraced the unprecedented opportunity that radio afforded to broadly survey contemporary performance practice, to revisit repertory he had not heard for many years and to explore music by composers whose work he had otherwise solely encountered in scores or reviews. Indeed, contrary to Schenker’s self-portrayal as a misanthrope, utterly disillusioned by the culture of his time, his radio summaries give the impression of someone who took a lively interest in all aspects of culture, exploring genres and art forms far beyond his specialism. They depict a man who not only sought enlightenment in music, but even diversion. Schenker’s decade-long record of his listening habits affords rare insight into the practical significance that technologies such as radio had for his generation of musicians. This thesis explores how his relationship with radio evolved, charting its transition from being a resource that radically transformed his access to the arts to a source of respite in the final years of his life.
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Burgstaller, Georg. "Kritikerdämmerung : Heinrich Schenker and music journalism." Thesis, University of Southampton, 2015. https://eprints.soton.ac.uk/378160/.

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Despite the steady amount of research that has gone into the life and mind of Viennese music theorist Heinrich Schenker (1868-1935) in recent decades, certain facets of his thinking continue to puzzle scholars. These include the question of how a thinker nowadays highly regarded for his considerable powers of insight into the music of Bach, Mozart, and Beethoven came to hold views that were bigoted, odious, and militantly German-nationalist. This thesis confronts the issue by recapturing Schenker’s hitherto uncharted engagement with one of the phenomena of modern life that he vocally rejected: music journalism. Although a profession that is today considered as duly coexisting with the musical academy that Schenker’s analytical practice helped to shape, he was far less tolerant of what was written about music in the only mass medium of its day. This study offers a close reading of a variety of archival sources that include an unpublished essay on music criticism by the theorist as well as his diary and correspondence, most of which is newly accessible through Schenker Documents Online. In order to situate his thinking within the cultural hothouse of his day, my research also draws on an selection of newspaper articles, mostly on the subject of criticism, that Schenker deemed significant enough to file with his own papers. As a result of this procedure, this study establishes Schenker’s trepidations about music journalism and assesses their context. It reveals his critical view of journalism as a manifestation of individualism and democracy escalating alongside the rapid social and artistic transformations that he witnessed after the turn of the twentieth century. It also illustrates his increasingly agitated perception of music journalism as directly damaging his career. Finally, this thesis demonstrates how, in the course of the 1910s, Schenker came to conflate his antagonism towards one particular journalist, German critic Paul Bekker, with his embrace of German nationalism. By engaging not only with Schenker’s writings but also his reading materials, this study locates his thinking within that of his contemporaries and, as a result, helps us make sense of some of his often opaque assertions about art, society, and criticism.
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Whittle, Barbara. "The cultural context of the theories of Heinrich Schenker." Thesis, n.p, 1993. http://ethos.bl.uk/.

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Ayotte, Benjamin McKay. "Incomplete Ursatzformen transferences in the vocal music of Heinrich Schenker." Diss., Connect to online resource - MSU authorized users, 2008.

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Thesis (Ph.D.)--Michigan State University. Music Theory, College of Music, 2008.
Title from PDF t.p. (viewed on March 30, 2009) Includes bibliographical references (p. 155-158). Also issued in print.
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Auerbach, Jennifer Sadoff. "Drafts, Page Proofs, and Revisions of Schenker's Der freie Satz: The Collection at the Austrian National Library and Schenker's Generative Process." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/permalink/meta-dc-9936.

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Foster, Peter. "Brahms, Schenker and the rules of composition compositional and theoretical problems in the clarinet works /." Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 1994. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.260570.

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Hinton, Stephen. "Die Musiktheorie Heinrich Schenkers und ihre Übertragung ins Englische." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A36825.

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Kurth, Ulrich. "Alte Musik im Werk Heinrich Schenkers und Felix Salzers." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A38339.

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Karnes, Kevin C. "Music, criticism, and the challenge of history : shaping modern musical thought in late nineteenth-century Vienna /." Oxford : Oxford University Press, 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9780195368666.

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Books on the topic "Heinrich Schenker"

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Meeùs, Nicolas. Heinrich Schenker: Une introduction. Liège: Mardaga, 1993.

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Heinrich Schenker: A guide to research. New York: Routledge, 2004.

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Cube, Felix-Eberhard von. The book of the musical artwork: An interpretation of the musical theories of Heinrich Schenker. Lewiston [NY]: E. Mellen Press, 1988.

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Jonas, Oswald. Introduction to the theory of Heinrich Schenker: The nature of the musical work of art. New York: Schirmer Books, 1989.

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University of California, Riverside. Library., ed. Heinrich Schenker: Nach Tagebüchern und Briefen in der Oswald Jonas Memorial Collection, University of California, Riverside. Hildesheim: G. Olms, 1985.

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Schenker, Heinrich. Heinrich Schenker als Essayist und Kritiker: Gesammelte Aufsätze, Rezensionen und kleinere Berichte aus den Jahren 1891-1901. Hildesheim: G. Olms, 1990.

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University of California, Riverside. Library. Heinrich Schenker, Oswald Jonas, Moriz Violin: A checklist of manuscripts and other papers in the Oswald Jonas Memorial Collection. Berkeley: University of California Press, 1994.

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Heinrich Schenker: Selected Correspondence. Boydell & Brewer, Incorporated, 2014.

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Meeus. Heinrich Schenker: Une introduction. Mardaga, 1995.

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Heinrich Schenker And Beethovens Hammerklavier Sonata. Ashgate Publishing Group, 2013.

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Book chapters on the topic "Heinrich Schenker"

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Arndt, Matthew. "Schenker the progressive." In The Musical Thought and Spiritual Lives of Heinrich Schenker and Arnold Schoenberg, 117–53. Abingdon, Oxon: New York, NY: Routledge, 2018. | Series: Ashgate studies in theory and analysis of music after 1900: Routledge, 2017. http://dx.doi.org/10.4324/9781315268347-5.

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Arndt, Matthew. "Introduction." In The Musical Thought and Spiritual Lives of Heinrich Schenker and Arnold Schoenberg, 1–18. Abingdon, Oxon: New York, NY: Routledge, 2018. | Series: Ashgate studies in theory and analysis of music after 1900: Routledge, 2017. http://dx.doi.org/10.4324/9781315268347-1.

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Arndt, Matthew. "The eye of the genius." In The Musical Thought and Spiritual Lives of Heinrich Schenker and Arnold Schoenberg, 21–72. Abingdon, Oxon: New York, NY: Routledge, 2018. | Series: Ashgate studies in theory and analysis of music after 1900: Routledge, 2017. http://dx.doi.org/10.4324/9781315268347-2.

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Arndt, Matthew. "The obstacle of interruption." In The Musical Thought and Spiritual Lives of Heinrich Schenker and Arnold Schoenberg, 73–94. Abingdon, Oxon: New York, NY: Routledge, 2018. | Series: Ashgate studies in theory and analysis of music after 1900: Routledge, 2017. http://dx.doi.org/10.4324/9781315268347-3.

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Arndt, Matthew. "The trouble with problems." In The Musical Thought and Spiritual Lives of Heinrich Schenker and Arnold Schoenberg, 95–116. Abingdon, Oxon: New York, NY: Routledge, 2018. | Series: Ashgate studies in theory and analysis of music after 1900: Routledge, 2017. http://dx.doi.org/10.4324/9781315268347-4.

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Arndt, Matthew. "The cold shoulder." In The Musical Thought and Spiritual Lives of Heinrich Schenker and Arnold Schoenberg, 154–79. Abingdon, Oxon: New York, NY: Routledge, 2018. | Series: Ashgate studies in theory and analysis of music after 1900: Routledge, 2017. http://dx.doi.org/10.4324/9781315268347-6.

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Arndt, Matthew. "Zeroing in and zeroing out." In The Musical Thought and Spiritual Lives of Heinrich Schenker and Arnold Schoenberg, 180–216. Abingdon, Oxon: New York, NY: Routledge, 2018. | Series: Ashgate studies in theory and analysis of music after 1900: Routledge, 2017. http://dx.doi.org/10.4324/9781315268347-7.

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Arndt, Matthew. "The turning point." In The Musical Thought and Spiritual Lives of Heinrich Schenker and Arnold Schoenberg, 217–52. Abingdon, Oxon: New York, NY: Routledge, 2018. | Series: Ashgate studies in theory and analysis of music after 1900: Routledge, 2017. http://dx.doi.org/10.4324/9781315268347-8.

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Arndt, Matthew. "Conclusion." In The Musical Thought and Spiritual Lives of Heinrich Schenker and Arnold Schoenberg, 253–54. Abingdon, Oxon: New York, NY: Routledge, 2018. | Series: Ashgate studies in theory and analysis of music after 1900: Routledge, 2017. http://dx.doi.org/10.4324/9781315268347-9.

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Drabkin, William. "Heinrich Schenker." In The Cambridge History of Western Music Theory, 812–44. Cambridge University Press, 2002. http://dx.doi.org/10.1017/chol9780521623711.028.

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Conference papers on the topic "Heinrich Schenker"

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Deisinger, Marko. "Fortschrittliche Technologie im Dienste eines Antimodernisten. Heinrich Schenker und der österreichische Rundfunk." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.52.

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The Viennese music theoretician Heinrich Schenker opposed modernity during his entire life. At first, this opposition applied to new technologies as well. Despite his skepticism, he purchased a radio shortly after the Austrian Broadcasting Corporation (RAVAG) started broadcasting in October 1924 and soon became an avid radio listener. Schenker quickly grasped the advantages of this new transmission medium and used it to further his own interests, aided by personal contacts with the RAVAG. In 1928, his associate Otto Erich Deutsch delivered a radio lecture co-authored with Schenker about the goals of the “Archive for Photograms of Musical Master Manuscripts” which was founded at Schenker’s instigation. In 1934, the RAVAG sponsored a competition, awarding the best text to a song fragment by Franz Schubert which in turn was discovered by Deutsch. Since the textless fragment lacks the final measures, Schenker had previously composed an ending for the song which was also performed on the radio.
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