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Books on the topic 'Heinrich Schenker'

Author: Grafiati

Published: 4 June 2021

Last updated: 19 February 2022

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1

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

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2

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

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3

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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4

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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5

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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6

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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7

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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8

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

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9

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

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10

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

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11

Heinrich Schenker`s Conception of Harmony. Boydell & Brewer, Limited, 2020.

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12

Heinrich Schenker and Beethoven's 'Hammerklavier' Sonata. Routledge, 2017. http://dx.doi.org/10.4324/9781315093055.

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13

Lang, Robert, and Joan Kunselman. Heinrich Schenker, Oswald Jonas Moriz Violin. University of California Press, 1994. http://dx.doi.org/10.1525/9780520323254.

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14

Ayotte, Benjamin. Heinrich Schenker: A Research and Information Guide. Taylor & Francis Group, 2014.

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15

Becoming Heinrich Schenker: Music Theory and Ideology. Cambridge University Press, 2014.

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16

Slatin, Sonia. The theories of Heinrich Schenker in perspective. 1989.

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17

Morgan, Robert P. Becoming Heinrich Schenker: Music Theory and Ideology. Cambridge University Press, 2017.

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18

Ayotte, Benjamin. Heinrich Schenker: A Guide to Research (Routledge Musical Bibliographies). Routledge, 2003.

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19

Yust, Jason. Tonal Structure. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190696481.003.0003.

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The concept of tonal structure is intimately associated with the person of Heinrich Schenker, but ultimately in order to enter dialogue with Schenker the theory of tonal structure must take the place of “Schenkerian analysis” in our discourse. A number of useful principles of tonal structure may be derived from Schenker’s theory: Schenkerian notation agrees with the network representation for temporal structure, and linear progressions are a good starting point for a tonal structure discovery procedure. The theory of the Ursatz, however, cannot be understood as an empirical claim but rather as a collection of grammatical norms. Also, Schenker’s dismissal of the concept of key is disputed, and a theory of tonal structure to which keys and modulation are integral is presented.

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20

Musical Thought and Spiritual Lives of Heinrich Schenker and Arnold Schoenberg. Taylor & Francis Group, 2017.

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21

Jonas, Oswald. Introduction to the Theory of Heinrich Schenker: The Nature of the Musical Work of Art. Musicalia Pr, 2005.

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22

Evelyn, Fink-Mennel, and Universität für Musik und Darstellende Kunst Wien., eds. Rebell und Visionär: Heinrich Schenker in Wien : Katalog zur Ausstellung vom 12. Juni bis 3. Juli 2003 an der Universität für Musik und Darstellende Kunst Wien. Wien: Lafite, 2003.

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23

Lang, Robert, and JoAnn Kunselman. Heinrich Schenker, Oswald Jonas, Moriz Violin: A Checklist of Manuscripts and Other Papers in the Oswald Jonas Memorial Collection (University of California Publications Catalogs and Bibliographies). University of California Press, 1994.

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24

Bernstein, Zachary. Thinking In and About Music. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190949235.001.0001.

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Milton Babbitt (1916–2011) was, at once, one of the century’s foremost composers and a founder of American music theory. These two aspects of his creative life—“thinking in” and “thinking about” music, as he would put it—nourished each other. Theory and analysis inspired fresh compositional ideas, and compositional concerns focused theoretical and analytical inquiry. Accordingly, this book undertakes an excavation of the sources of his theorizing as a guide to analysis of his music. Babbitt’s idiosyncratic synthesis of ideas from Heinrich Schenker, analytic philosophy, and cognitive science—at least as much as more obviously relevant, and more frequently cited, predecessors such as Arnold Schoenberg—provide insight into his aesthetics and compositional technique. Examination of Babbitt’s newly available sketch materials sheds additional light on his procedures. But a close look at his music reveals a host of concerns unaccounted for in his theories, some of which seem to directly contradict theoretical expectations. New analytical models are needed to complement those suggested by Babbitt’s theories. Departing from the serial logic of Babbitt’s writings, his compositional procedures, and most previous work on the subject—and in an attempt to discuss Babbitt’s music as it is actually heard rather than just deciphered—the book brings to bear theories of gesture and embodiment, rhetoric, text setting, and temporality. The result is a richly multifaceted look at one of the twentieth century’s most fascinating musical minds.

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25

Lämmlin, Georg, ed. Gesellschaftlicher Zusammenhalt in der postsäkularen Gesellschaft. Nomos Verlagsgesellschaft mbH & Co. KG, 2021. http://dx.doi.org/10.5771/9783748924982.

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With regard to post-secular society, this book addresses two basic questions: To what extent can Christian communication und practice generate resources for social cohesion? And how can this contribution be empirically researched and identified from a sociological and theological perspective? These issues are discussed exemplarily in contributions to a conference relating to social conflicts and educational processes and are contrasted with the question of a suitable understanding of religion. They are complemented by reflections on the concept of the Church and on the question of European solidarity in the coronavirus crisis, a core aspect of social cohesion in the current situation. With contributions by Arend de Vries, Horst Gorski, Monika Jungbauer-Gans, Georg Lämmlin, Andreas Mayert, Georg Pfleiderer, Hilke Rebenstorf, Gunther Schendel and Ferdinand Sutterlüty. With a foreword by Heinrich Bedford-Strohm.

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26

Jackson, Timothy. New Teaching': Heinrich Schenker's Compositional and Analytical Work with Reinhard Oppel, Hans Weisse and William Furtwangler 1928-1935. Taylor & Francis Group, 2026.

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