Dissertations / Theses on the topic 'Heinrich Schenker'

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.

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.

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.

La théorie d'Heinrich Schenker (1868-1935) repose sur une conception neuve de la tonalité qui associe l'aspect vertical (harmonie) et l'aspect horizontal (contrepoint) de l'accord "naturel". D'après cette théorie, c'est la structure fondamentale (ursatz) qui constitue le noyau dur de toute composition musicale tonale ; les prolongations, déploiements, articulations diversifient l'ursatz en traversant trois niveaux de développement : l'arrière-plan, le plan médian et l'avant-plan. Les transformations successives s'exécutent par l'intermédiaire du chromatisme et des tonalisations. L'œuvre musicale ainsi déconstruite livre à l'analyste sa cohérence et sa logique. Appliquée aux vingt-sept études de Chopin, l'analyse schenkérienne rend compte à la fois de l'unité de chacune de ces œuvres et de tous les éléments de leur diversité
Heinrich Schenker's theory rests on a new conception of tonality which combines the vertical aspect (harmony) and the horizontal aspect (counterpoint) of the "natural" chord. According to this theory, it is the fundamental structure (ursatz) which makes up the core of any tonal musical composition; the prolongations, compositional unfoldings, articulations diversify the ursatz by going through three levels of development: the background, the middle ground and the foreground. The successive transformations are achieved through chromaticism and tonicization. The musical works, deconstructed in this way, reveal their coherence and logic to the analyst. Applied to Chopin’s 27 studies, the Schenkerian analysis gives an account both of the unity of each of these works and of all the elements of their diversity

La presente tesis toma como referencia principal el paradigma de la Complejidad deEdgar Morin y las teorías de Heinrich Schenker. Como emergencia del sistema humanomente/cerebro, el Arte en general y la música en particular son considerados desde la perspectivade las organizaciones de nuestro universo. Así, todos los acontecimientos/eventos que seproducen en el interior/exterior de una composición tonal, lo hacen en función de suantagonismo y complementariedad, siempre de forma concurrente, tal y como articula lasnociones Edgar Morin, consiguiendo superar, a través de la noción de bucle, la dicotomíaoccidental.En las teorías tradicionales de la música, lo descriptivo, lo lineal y lo determinista son lasdirectrices pedagógicas y compositivas, lo que nunca ha sido útil salvo para conocer de formasuperficial el catálogo de situaciones horizontales, verticales y formales de la música tonal. Porel contrario, Heinrich Schenker trató de construir un edificio teórico basado en las ideas decoherencia y crecimiento orgánico, teniendo como pilar fundamental la asociación de ideas,entre las que destaca la Asociación Motívica, la noción de paralelismo y las similitudes ydiferencias entre la gramaticalidad y la funcionalidad de los acontecimientos de la composicióntonal, la cual se desarrolla a partir de tres niveles integrados de transformación-organización:background, middleground y foreground.En la simplificación de las teoría y procedimientos analíticos, llevada a cabo por losalumnos directos de Schenker, la idea de Crecimiento Orgánico es sustituida por la idea dereducción lo que ha llevado a lo que algunos consideramos una mala compresión de la teoría, yal rechazo por parte de aquellos que no profundizan en ella. A través de los gráficos originales deSchenker, se percibe con claridad que la organización músico-tonal se consigue a través de tresniveles interrelacionados e interaccionales, que parten del primero como fuente de lacomposición: background, Primer Nivel o Base Subyacente (relación estructural a gran escala),middleground, Segundo Nivel o Base Generatiz Media (relaciones estructurales a medio plazo),y foreground, Tercer Nivel o Base Generatriz de la Superficie (relaciones estructurales en elnivel local o temporal inmediato).Las nociones schenkerianas han sido trasladadas al paradigma de la complejidadmoriniana, viendo cómo encajaban sin ningún esfuerzo, del mismo modo que hemos trasladadolas nociones morinianas al paradigma schenkeriano, comprobando, felizmente, que las unas seembuclan en las otras en una relación dialógica, superando su aislamiento dicotómico ydemostrando que el todo es a la vez mucho más y mucho menos que la suma de las partes. Losprincipios morinianos dialógico, recursivo-retroactivo y hologramático nos ayudan a pensar laComplejidad de las organizaciones músico-tonales.Alcanzado nuestro objetivo, la composición tonal se muestra como organizacióninformacional/comunicacional/computacional, a través de los principios de la complejidadmoriniana: el principio dialógico, el principio recursivo-retroactivo y el principio hologramático.De este modo, llevamos a cabo una re-organización de los conocimientos schenkerianos, unainterdisciplinariedad que ofrece isomorfismos conceptuales, desde los que trascender el corpusteórico, hasta la aprehensión de la obra musical tonal en toda su dimensión, consiguiendodescubrir que lo que mantiene la unidad en el interior del organismo sonoro es lacoherencia, pero de la información que se produce y se transmite en el interior de sonido asonido, de relación a relación, de motivo inicial a motivo transformado, de parte a parte, departe a todo, de todo a parte, de todo a todo, es decir, la coherencia de la organizacióninformacional/comunicacional/computacional.
This thesis considers as primary reference the Complexity Paradigm of Edgar Morinand the theories of Heinrich Schenker. Art in general and music in particular areconsidered from the perspective of the organizations of ourinformational/communicational/computational organization universe as products of thehuman system/mind. Thus, everything that occurs inside and outside a tonalcomposition does so on the basis of its antagonism and complementarity, always in arecurrent way, as.Edgar Morin articulates notions, overcoming the Western dichotomy introducingthe notion of loop. Heinrich Schenker sought to construct a theoretical building basedon the ideas of coherence and organic growth, using as the fundamental pillar theassociation of ideas, Association Motivic, the notion of parallelism and the similaritiesand differences between the grammaticality and functionality of the events in the tonalcomposition, which develops from three integrated levels of transformationorganization:background, middleground and foreground.Shenker's notions have been transferred to the paradigm of Morin's complexity,so that they fit together with no effort, in like Morin's notions have been shifted intoSchenker's paradigm, with the happy result, of watching them loop together in adialogical relationship. The tonal composition appears as aninformational/communicational/computational organization, through Morin's principlesof complexity: the dialogic principle, the recursive-retroactive principle and thehologramatic principle. Thus, we've carried out a re-organization of the knowledge ofSchenker, an interdisciplin which offers a conceptual isomorphism, from which totranscend the theoretical corpus, to the apprehension of the musical/tonal compositionin all its dimensions, to discover that what maintains unity in the sonorous body isconsistency, but about the information that is produced and transmitted frominside one sound to another, from relationship to relationship, from the initialmotive to the transformed motive, from side to side, from a part to the whole, fromthe whole to a part, that is, the coherence of the informational, communicationaland computational organization.

Resumo: Esta pesquisa tem como objeto de estudo a aplicação e adaptação da teoria de Schenker como ferramenta analítica aplicada ao jazz, tendo em vista a possibilidade de encontrar estruturas fundamentais distintas na música popular. Tendo como base as análises feitas por Larson (1998; 2009), Forte (2011) e Stock (1993) a pesquisa abordará, em um primeiro momento, as origens do jazz (blues e ragtime) como parte essencial para sua abordagem analítica, através da ótica etno-schenkeriana proposta por Stock (1993) relacionando o som musical, contexto e comportamento como elementos interdependentes. Em um segundo momento ocorrerá a aplicação das estruturas propostas no blues em peças de jazz, apontando traços de sua evolução com base no pressuposto histórico (HOBSBAWM 1986; GIDDINS 2009), musicológico (FORTE 2011) e etnomusicológico (STOCK 1993) de que as origens folclóricas possuem um papel determinante para o seu desenvolvimento musical. Através desse estudo é possível compreender o desenvolvimento de aspectos particulares do jazz como o tratamento da dissonância e sua ambiguidade melódica, oriundos da miscigenação cultural entre a tradição musical africana (com sua inflexão melódica e de estruturação musical) e a tradição musical europeia (com suas progressões harmônicas e estruturas formais), dentro do contexto afro-americano.

Resumo: A análise schenkeriana é uma teoria controversa, causadora de diversos debates no decorrer do século XX devido ao seu vigor, precisão crítica e repercussão nas universidades americanas. Heinrich Schenker (1868-1935), teórico musical e crítico radicado em Viena, adotou a tradição clássica austro-germânica como modelo musical e ideológico. Para isso, fundamentou sua teoria analítica em tratados teóricos e práticos do século XVIII e nas obras do cânone clássico tonal. No entanto, temas abertamente relacionados ao emprego prático dos ornamentos em sua teoria - bem como o contexto e analogia com as "diminuições" com os tratados de ornamentação - ainda não foram enfocados com precisão pela musicologia. Neste trabalho, esclarecemos a influência dos ornamentos práticos neste pensamento analítico traçando um paralelo entre os seus significados práticos e estruturais. Para tal finalidade, percorremos os textos de Schenker (com ênfase especial em Der Freie Satz [1935]); os textos dos seguidores americanos Adele T. Katz (1887-1979), Allen Forte (1926), Felix Salzer (1904-1986) e Oswald Jonas (1897-1978); e o tratado de ornamentação Versuch über die wahre Art, das Clavier zu Spielen (1753) de C.P.E. Bach (1714-1788), no qual Schenker embasou sua obra. Contudo, o propósito maior deste trabalho, que visa refletir, revisar e expor novas possibilidades para uma adequada compreensão musical, não foi exatamente dirigido em defesa da "ideologia schenkeriana", ou qualquer outra que seja. Assim, nossa abordagem será útil não somente aos analistas, mas também aos intérpretes e aos compositores - principalmente, os últimos de linhagem pós-moderna que utilizam ferramentas analíticas como um recurso composicional.

Orientador: Maria Lucia Senna Machado Pascoal
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Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este projeto tem por principal objetivo analisar a estrutura harmônica da forma-sonata no repertório sinfônico do final do século XIX. Especificamente, é estudado de Johannes Brahms, Sinfonia no. 3, movimento Allegro com brio, através da elaboração de análises gráficas, segundo as teorias de Felix Salzer e Heinrich Schenker. Esta pesquisa tem como justificativa a contribuição para o enriquecimento da bibliografia brasileira, uma vez que o repertório analisado é pouco explorado e as técnicas de análise, pouco utilizadas. A metodologia constou de: audição com partitura da peça escolhida até a familiarização com a mesma; leitura harmônica da referida peça; leitura da bibliografia utilizada; análise gráfica de trechos selecionados e posterior comparação dos dados obtidos. Entre os resultados esperados, contam-se a aplicação de conhecimentos teóricos na prática analítica; a contribuição para maior conhecimento e entendimento deste repertório específico, além de fornecer material útil para o ensino e o estudo da análise
Abstract: Not informed.
Mestrado
Mestre em Música

The thesis investigated the social and symbolic significance of acquiring a 'music education' through the taking of piano tuition and external public music examinations. It aimed to discover why the learning of the piano and the certification of musical attainment are so prevalent and revered among Malaysian music students. Its purpose was to unravel the socio-cultural raison d'etre of this approach to music education through the creation of a metatheoretical schema, which is premised upon the theories of symbolic interactionist, George Herbert Mead, music analyst, Heinrich Schenker and social theorist, George Ritzer. Central to the argument in this instance is the symbolic significance associated with the act of playing the piano. The investigation attempted to determine if this 'act' conveyed a symbolic meaning that is peculiar to a specific cultural vista. It further examined the degree to which this practice represented both a validation and a sense of conformity to social norms in the continuity and stability of an expanding middle class society in Malaysia. The Associated Board of the Royal Schools of Music (ABRSM) is the largest of the five main external public music examination boards that operate in Malaysia. Since 1948, over one million candidates have enrolled for ABRSM examinations in Malaysia and a team of approximately thirty ABRSM examiners visit Malaysia for three months every year. The majority of the candidates are pianists. Given such large numbers of piano candidates, one might expect a healthy development of musical talent in the country with aspiring pianists eager to demonstrate their musical prowess. However, this does not seem to be the case. On the contrary, there appears to be a curious lacuna between the growing number of students who enrol for external public music examinations and the seemingly lack of interest in public music making and the honing of general musicianship skills. The thesis hence examined the symbolic meaning of this socio-rausicological phenomena.

The thesis investigated the social and symbolic significance of acquiring a 'music education' through the taking of piano tuition and external public music examinations. It aimed to discover why the learning of the piano and the certification of musical attainment are so prevalent and revered among Malaysian music students. Its purpose was to unravel the socio-cultural raison d'etre of this approach to music education through the creation of a metatheoretical schema, which is premised upon the theories of symbolic interactionist, George Herbert Mead, music analyst, Heinrich Schenker and social theorist, George Ritzer. Central to the argument in this instance is the symbolic significance associated with the act of playing the piano. The investigation attempted to determine if this 'act' conveyed a symbolic meaning that is peculiar to a specific cultural vista. It further examined the degree to which this practice represented both a validation and a sense of conformity to social norms in the continuity and stability of an expanding middle class society in Malaysia. The Associated Board of the Royal Schools of Music (ABRSM) is the largest of the five main external public music examination boards that operate in Malaysia. Since 1948, over one million candidates have enrolled for ABRSM examinations in Malaysia and a team of approximately thirty ABRSM examiners visit Malaysia for three months every year. The majority of the candidates are pianists. Given such large numbers of piano candidates, one might expect a healthy development of musical talent in the country with aspiring pianists eager to demonstrate their musical prowess. However, this does not seem to be the case. On the contrary, there appears to be a curious lacuna between the growing number of students who enrol for external public music examinations and the seemingly lack of interest in public music making and the honing of general musicianship skills. The thesis hence examined the symbolic meaning of this socio-musicological phenomena.

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.

As is clear from the title, this thesis presents a comparison of Schenkerian and Ciceronian principles. The thesis will focus mainly on the characteristics of the creative process essential for producing a sublime and intellectual work. Admittedly comparing a Roman lawyer/philosopher (Cicero) to a 20th century musician/theorist (Schenker) will bring forth many obstacles and will suffer from numerous imperfections. Stressing the commonalties between two men of time frames too far apart is an arduous task. I found it most helpful to go about this problem through three stages: first, by presenting an overview of the lives, historical circumstances, and careers of the two mentioned figures; second, by presenting a basic comparison of the two branches of thought; and third, by dealing with some of the more complicated philosophical issues for a better understanding of the two doctrines. Since many of the Schenkerian and Ciceronian principles are heavily rooted in Platonism, an overview of Plato's theory of 'forms and ideas' is presented to guide the reader toward a better grasp of the concepts. The reader may, however, be uncertain regarding the objective of this thesis: is this a comparison of the two philosophies or an evaluation of them? Of course, in order to achieve a satisfactory comparison, one must first understand the two philosophies; this demands an explicit analysis which, in my view, is a form of evaluation. I have also shown and questioned some of the ambiguities of the two philosophies without offering any solutions. This will perhaps help the reader to understand the path I had to take in completing this thesis. I have included these philosophical remarks in the endnotes. Furthermore, Schenkerian philosophy reveals many other important influences other than Platonism; although not the focus of this thesis, numerous references to great thinkers such as Nietzsche, Spinoza, Hanslick, and Freud illustrate this point. Much of the presented bibliographical material on the life of Cicero can be found in the On the Commonwealth and On the Laws. Furthermore, Michael B. Fuster's Masters of Political Thought has been used as a source of reference for a great portion of the philosophical interpretations. Much of what I have presented on Schenker and Schenkerian literature has been gathered through my studies and conversations with Dr. Benjamin, my advisor: the most reliable source with whom I am acquainted. This is perhaps the reason for not including any other philosophical writings on Schenkerian literature in the bibliography.