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Journal articles on the topic 'Heinrich Schenker'

Author: Grafiati

Published: 4 June 2021

Last updated: 19 February 2022

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1

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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2

Cook. "HEINRICH SCHENKER, ANTI-HISTORICIST." Revista de Musicología 16, no. 1 (1993): 420. http://dx.doi.org/10.2307/20795900.

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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Kassler, Michael. "Heinrich Schenker and Beethoven's ‘Hammerklavier’ Sonata." Musicology Australia 37, no. 1 (January 2, 2015): 90–92. http://dx.doi.org/10.1080/08145857.2015.1035205.

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12

McCallum, Peter. "Heinrich Schenker and Beethoven's ‘Hammerklavier’ Sonata." Musicology Australia 37, no. 1 (January 2, 2015): 92–95. http://dx.doi.org/10.1080/08145857.2015.1046485.

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13

Bent, Ian. "Heinrich Schenker, Chopin and Domenico Scarlatti." Music Analysis 5, no. 2/3 (July 1986): 131. http://dx.doi.org/10.2307/854183.

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14

Federhofer, Hellmut. "Heinrich Schenker und die deutschsprachige Musikwissenschaft." Die Musikforschung 59, no. 3 (September 22, 2021): 246–51. http://dx.doi.org/10.52412/mf.2006.h3.582.

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15

Marston, Nicholas. "‘ … nur ein Gleichnis’: Heinrich Schenker and the Path To ‘Likeness’." Music and Letters 100, no. 2 (May 1, 2019): 271–301. http://dx.doi.org/10.1093/ml/gcz021.

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Abstract This article introduces to Schenker scholarship a virtually unknown, unfinished text, ‘Der Weg zum Gleichniss’ (‘The Path to Likeness’). I date it to the decade following 1895, and more specifically to 1902–4: thus, between ‘Der Geist der musikalischen Technik’ and Harmonielehre (1906). ‘Geist’ has for more than thirty years been repeatedly re-examined for its negative account of organicism in music; I show that the ‘Gleichniss’ text both reiterates Schenker’s position and argues that, through the controlling concept of ‘likeness’, music succeeded in elevating itself to the level of ‘a distinct, second, artificial and higher nature’. In short, this text may represent the ‘missing link’ between ‘Geist’ and the more positively organicist Harmonielehre. Finally, I ponder the context of ‘Geist’ and the background to Schenker’s idiosyncratic use of the term ‘Gleichniss’: this leads both forwards to the 1933 article ‘Was wird aus der Musik?’ and backwards to the Old Testament.

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16

Borio, Gianmario. "Schenker versus Schoenberg versus Schenker: The Difficulties of a Reconciliation." Journal of the Royal Musical Association 126, no. 2 (2001): 250–74. http://dx.doi.org/10.1093/jrma/126.2.250.

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Music theory has increasingly been attempting to find points of conjunction between the analytical methods of Heinrich Schenker and those of Arnold Schoenberg. However, the move toward a reconciliation has encountered obstacles because of the uneven development of the two schools and differences in the philosophical background of their procedures. The present article focuses on these differences through an examination of three standard examples: the first movements of Beethoven's sonatas op. 2 no. 1, op. 10 no. 1 and op. 57. The comparison of Schenker's analyses in Der Tonwille and Der freie Satz with those of Schoenberg, Webern, Rufer and Ratz shows that the disagreement principally concerns musical form and the functions of its components. The differences can finally be traced back to two opposite paradigms: music as nature and music as language.

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17

Beach, David. "An Analysis of Schubert's "Der Neugierige": A Tribute to Greta Kraus." Canadian University Music Review 19, no. 1 (March 8, 2013): 69–80. http://dx.doi.org/10.7202/1014606ar.

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This brief study is a tribute to Greta Kraus who taught for many years in the Faculty of Music, University of Toronto. It is a personal interpretation of a single song, "Der Neugierige" from Franz Schubert's Die schöne Müllerin, following the linear approach developed by Heinrich Schenker, with whom Greta studied many years ago in Vienna. Greta had maintained her interest in Schenker's ideas, particularly their practical application to performance issues, throughout her long and industrious teaching career.

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18

Broyles, Michael. "Beethoven's Ninth Symphony Heinrich Schenker John Rothgeb." Music Theory Spectrum 16, no. 1 (April 1994): 139–43. http://dx.doi.org/10.2307/745836.

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19

Brown, Matthew, and Robert W. Wason. "Counterpoint Heinrich Schenker John Rothgeb Jürgen Thym." Music Theory Spectrum 11, no. 2 (October 1989): 232–39. http://dx.doi.org/10.2307/745938.

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20

Brown, Matthew, and Robert W. Wason. ": Counterpoint . Heinrich Schenker, John Rothgeb, Jurgen Thym." Music Theory Spectrum 11, no. 2 (October 1989): 232–39. http://dx.doi.org/10.1525/mts.1989.11.2.02a00060.

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21

Broyles, Michael. ": Beethoven's Ninth Symphony . Heinrich Schenker, John Rothgeb." Music Theory Spectrum 16, no. 1 (April 1994): 139–43. http://dx.doi.org/10.1525/mts.1994.16.1.02a00090.

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22

Arndt, Matthew. "Becoming Heinrich Schenker: Music Theory and Ideology." Journal of Music Theory 60, no. 1 (April 2016): 89–95. http://dx.doi.org/10.1215/00222909-3448764.

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23

Vogt, Florian. "Otto Vrieslanders Kommentar zu Heinrich Schenkers Harmonielehre. Ein Beitrag zur frühen Schenker-Rezeption." Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory] 3, no. 2 (2006): 183–207. http://dx.doi.org/10.31751/228.

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24

Karnes, Kevin C. "Another Look at Critical Partisanship in the Viennese fin de sièècle: Schenker's Reviews of Brahms's Vocal Music, 1891-92." 19th-Century Music 26, no. 1 (2002): 73–93. http://dx.doi.org/10.1525/ncm.2002.26.1.73.

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In 1891-92 Heinrich Schenker published a pair of analytical reviews of new vocal collections by Johannes Brahms, the songs, op. 107, and the choral pieces, op.104. In these essays, Schenker sought not only to provide a critique of the works in question, but also to counter a prevailing perception amoung critics that Brahms's late style as a whole is both emotionally tepid and difficult to understand. In order to elucidate the structure and significance of Brahms's music for his readers, Schenker relies on a hermeneutic approach, alternately considering what he characterizes as "objective" and "subjective" modes of description. Schenker's observations are often provocative, and at times reveal his indebtedness to conceptions of musical structure and meaning that are distinctly Wagnerian. In this way, Schenker's reviews are revealing of the complexities not only of his own intellectual history but also of the critical discourse in which he worked, as they call into question a commonly held belief that musicians and writers were sharply divided in their adherence to either Brahm's music or Wagner's aesthetic ideals at the turn of the century. In spite of their provocative nature, Schenker's reviews were received enthusiastically by several prominent members of his community, including some who considered themselves to be partisans in the critical debate. This fact reminds us that, critical politcs aside, there were many musicians and writers during this time who did not believe that Brahm's music was antithetical to Wagner's aesthetics. Rather, they considered both manifestations of a common ideal of musical expressiveness.

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25

Barros, Guilherme Sauerbronn. "A Humoreske Op. 20 de Schumann e a Urlinie de Schenker." Revista Música 18, no. 1 (August 27, 2018): 9–24. http://dx.doi.org/10.11606/rm.v18i1.147206.

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A perspectiva adotada neste artigo procura enfatizar a dimensão estrutural da “Voz Interior” (Innere Stimme) na Humoreske Op.20 de Schumann. Para tanto, são utilizados conceitos e técnicas de análise propostos por Heinrich Schenker. Nessa aproximação entre a “voz interior” e a Urlinie, serão utilizados textos que discutem especificamente a natureza da Urlinie, presentes em Tonwille I e II, e em Das Meisterwerk I e II, publicados por Schenker entre os anos de 1921 e 1926.

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26

Rast, Nicholas. "A Checklist of Essays and Reviews by Heinrich Schenker." Music Analysis 7, no. 2 (July 1988): 121. http://dx.doi.org/10.2307/854052.

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27

Cordeiro, Djalma Bianco, and Sergio Paulo Ribeiro de Freitas. "Leis artificiais de inversão e leis naturais de desenvolvimento: revisando uma oposição que permeia o Harmonielehre de Schenker." DAPesquisa 14, no. 24 (December 2, 2019): 068–91. http://dx.doi.org/10.5965/1808312914242019068.

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Observando que o Tratado de Harmonia de Heinrich Schenker (1906) articula um conjunto de pares opositores do tipo teórico/prático, geral/particular, diatônico/cromático, fixo/variável etc., o presente artigo propõe uma revisão acerca de uma polarização específica que, na terminologia de Schenker, se distingue como inversão (Inversion) e desenvolvimento (Entwicklung). Pondera-se que, caracterizadas como leis, as forças artificiais de inversão e os movimentos naturais de desenvolvimento, com diversas implicações técnicas e especulativas, são dadas como princípios contrários que, por meio da vontade instintiva e engenhosa, se misturam e se complementam visando a variedade necessária para a qualificação artística da composição tonal.

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28

Hagberg, Garry L. "Wittgenstein's Philosophical Investigations, Linguistic Meaning and Music." Paragraph 34, no. 3 (November 2011): 388–405. http://dx.doi.org/10.3366/para.2011.0032.

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This article undertakes a comparison between Wittgenstein's philosophy of the early and late periods with the musical theories of Wittgenstein's contemporary, Heinrich Schenker, an influential Viennese theorist of tonality, as well as those of their contemporary Arnold Schoenberg. Schenker's reductive analytical procedure was designed to unveil fundamental and uniform ways in which all works of music function (and should function), unfolding a deep structure constituting their essence. Schoenberg deplored this line of thought, and for reasons strikingly parallel to those that led Wittgenstein back to what he called the ‘rough ground’ in his Philosophical Investigations. Ultimately, for Wittgenstein, the abstracted picture of the musical work as a platonic entity is nourished by grammatical conflations as well as by the Platonic and Cartesian legacies.

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29

Miller, Patrick. "The published music of Heinrich Schenker: An historical‐archival introduction." Journal of Musicological Research 10, no. 3-4 (December 1990): 177–97. http://dx.doi.org/10.1080/01411899108574634.

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30

Cook, Nicholas, Heinrich Schenker, and John Rothgeb. "Heinrich Schenker, Polemicist: A Reading of the Ninth Symphony Monograph." Music Analysis 14, no. 1 (March 1995): 89. http://dx.doi.org/10.2307/853964.

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31

Meeùs, Nicolas. "Heinrich Schenker, le contenu de la musique et le langage." Musurgia XXIII, no. 1 (2016): 27. http://dx.doi.org/10.3917/musur.161.0027.

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32

SZOCS, Botond. "Parallelism between Linguistics and Music – Noam Chomsky and Heinrich Schenker." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 287–94. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.31.

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The paper aims to compare musical language with verbal language, creating a new perspective on music and natural language. The three categories of linguistics, phonology, syntax and semantics are analyzed. Bernstein highlights the analogies between the linguistic categories and music, researching the same three components of linguistics in music. The possibility of applying the transformational grammar procedures to the musical text is studied. In the second part of the paper, the authors investigate the method of analysis based on harmony and counterpoint, differentiating several structural levels conceived by the theoretical musician H. Schenker. Schenkerian analyzes are a relatively recent appearance in the field of musical analysis, which proposes as an innovation in the field of musical analysis the structural vision of musical discourse.

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33

Proksch, Bryan. "“Forward to Haydn!”: Schenker's Politics and the German Revival of Haydn." Journal of the American Musicological Society 64, no. 2 (2011): 319–48. http://dx.doi.org/10.1525/jams.2011.64.2.319.

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Abstract While Heinrich Schenker consistently espoused the superiority of the German masterworks, his biases toward Haydn's works laid the groundwork for a reversal of nearly a century of neglect toward that composer's music in German-speaking lands. The circumstances of Schenker's personal life together with his reaction to the socioeconomic and political pressures created by the harsh terms imposed on Germany and Austria by the Treaties of Versailles and Saint-Germain led him to make the restoration of Haydn's stature as a compositional genius a crucial battle in his fight to reclaim German identity in the wake of the First World War. His mentorship of Anthony van Hoboken, who in turn underwrote Schenker's publications, created a partnership that redefined the cultural significance of Haydn's music and provided for the preservation of numerous Haydn autographs. Schenker's writings on Haydn refuted popular myths on the composer and replaced them with detailed arguments rooted in analysis in an effort to demonstrate the composer's musical significance to a nation in crisis specifically and the world at large.

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34

Marston, Nicholas. "Becoming Heinrich Schenker: Music Theory and Ideology. By Robert P. Morgan." Music and Letters 96, no. 3 (August 2015): 480–84. http://dx.doi.org/10.1093/ml/gcv046.

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35

Weiner, Brien. "Becoming Heinrich Schenker: Music Theory and Ideology by Robert P. Morgan." Notes 72, no. 2 (2015): 391–92. http://dx.doi.org/10.1353/not.2015.0141.

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36

DRABKIN, WILLIAM. "SCHUBERT, SCHENKER AND THE ART OF SETTING GERMAN POETRY." Eighteenth Century Music 5, no. 2 (September 2008): 209–36. http://dx.doi.org/10.1017/s1478570608001498.

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Nearly half a century after gaining a solid footing in the academic world, the achievements of Heinrich Schenker remain associated more with tonal structure and coherence than with musical expression. The focus of his published work, exemplified largely by instrumental music from the eighteenth and early nineteenth centuries, supports this view. There are just five short writings about music for voices: two essays on Bach’s St Matthew Passion, one on the opening number from Haydn’s Creation, and two on Schubert songs. To be sure, romantic lieder appear as music examples for the larger theory books, but there they serve as illustrations of harmony, voice leading and form, rather than the relationship of word to tone.

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37

Kassler, Michael. "The Masterwork in Music; a Yearbook; Volume I (1925) by Heinrich Schenker." Musicology Australia 18, no. 1 (January 1995): 61–62. http://dx.doi.org/10.1080/08145857.1995.10415264.

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38

Rothstein, William, and Hellmut Federhofer. "Heinrich Schenker: Nach Tagebuchern und Briefen in der Oswald Jonas Memorial Collection." Music Analysis 7, no. 2 (July 1988): 233. http://dx.doi.org/10.2307/854059.

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39

Bottge, K. M. "Lessons in "Pure Visibility" (reine Sichtbarkeit): Victor Hammer's Correspondence with Heinrich Schenker." Music Theory Spectrum 37, no. 1 (January 9, 2015): 25–50. http://dx.doi.org/10.1093/mts/mtu019.

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40

Lubben, Joseph. "The Masterwork in Music: A Yearbook. Volume I (1925) . Heinrich Schenker , William Drabkin ." Journal of the American Musicological Society 52, no. 1 (April 1999): 145–56. http://dx.doi.org/10.1525/jams.1999.52.1.03a00040.

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41

Kramer, Richard. "Heinrich Schenker: Selected Correspondence. Edited by Ian Bent, David Bretherton, and William Drabkin." Music Theory Spectrum 40, no. 2 (2018): 357–60. http://dx.doi.org/10.1093/mts/mty016.

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42

Buch, Esteban. "Valeurs morales et controverses autour de l’avant-garde musicale : Heinrich Schenker contre le chromatisme." Enjeux éthiques et valeurs morales en histoire de la musique 11, no. 1-2 (November 21, 2018): 61–69. http://dx.doi.org/10.7202/1054024ar.

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Dans les contextes d’affrontement suscités par les avant-gardes, les acteurs font face à des incertitudes récurrentes quant à comment construire ce qu’on appelle un syllogisme pratique, c’est-à-dire un syllogisme dont la conclusion est non pas une vérité mais une action. Que ce soit pour défendre la validité de ces oeuvres ou pour la mettre en cause, les uns et les autres doivent répondre, face à l’expérience d’une musique véritablement inouïe, à la question pratique par excellence : que faire pour bien agir ? Cette problématique est explorée ici à partir de l’analyse d’un unique passage de l’Harmonielehre d’Heinrich Schenker, un livre paru à Vienne en 1906. Peu avant la création des premières oeuvres atonales d’Arnold Schoenberg, l’auteur y condamne comme un « dol » toute tentative d’affaiblir la tonalité, en prônant comme un devoir moral la « stigmatisation » (brandmarken) d’une telle attitude. Le texte soulève ainsi des questions centrales à propos des rapports entre art, morale, droit et violence.

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43

Hooper, Jason. "Beethoven’s Last Piano Sonatas: An Edition with Elucidation. Vols. 1–4. By Heinrich Schenker." Music Theory Spectrum 40, no. 2 (2018): 361–65. http://dx.doi.org/10.1093/mts/mty015.

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44

Sabourin, Carmen. "Méthodologie schenkérienne et apprentissage de l’analyse musicale." Canadian University Music Review, no. 14 (February 22, 2013): 98–145. http://dx.doi.org/10.7202/1014313ar.

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Résumé Nous considérons ici les visées didactiques et certains aspects structurels de la théorie de Heinrich Schenker dans la perspective de l’apprentissage de l’analyse musicale en milieu universitaire de tradition musicologique française. Dans un premier temps, nous posons la question de la pertinence de l’enseignement de l’analyse schenkérienne. Nous mettons en évidence les aspects de la théorie qui la distinguent des théories tonales antérieures et qui représentent des acquis substantiels pour l’étude de la tonalité. Puis, nous évaluons les difficultés inhérentes à la diffusion des idées de Schenker dans les milieux pédagogiques, soit la complexité de son œuvre, l’absence d’un traité d’harmonie à teneur schenkérienne en langue française et l’exploration des niveaux de structure intermédiaire (Mittelgrund). Par la suite, nous définissons les étapes préalables à l’apprentissage des techniques schenkériennes, notamment l’étude des espèces fuxiennes et de l’harmonie, cette dernière enseignée dans une perspective linéaire. Enfin, nous analysons l’Invention 12 en la majeur, BWV 783, de Johann Sebastian Bach. L’analyse met en évidence la relation entre les principes contrapuntiques présentés dans les étapes préalables et les différents niveaux de structure de l’œuvre. Un graphe schenkérien illustre l’interdépendance des niveaux de structure.

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45

Rothstein, William. "J. S. Bach's Chromatic Fantasy and Fugue: Critical Edition with Commentary Heinrich Schenker Hedi Siegel." Music Theory Spectrum 7 (April 1985): 203–7. http://dx.doi.org/10.2307/745890.

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46

Rothstein, William. ": J. S. Bach's Chromatic Fantasy and Fugue: Critical Edition with Commentary . Heinrich Schenker, Hedi Siegel." Music Theory Spectrum 7, no. 1 (April 1985): 203–7. http://dx.doi.org/10.1525/mts.1985.7.1.02a00130.

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47

Lubben, Joseph. "Review: The Masterwork in Music: A Yearbook. Volume I (1925) by Heinrich Schenker, William Drabkin." Journal of the American Musicological Society 52, no. 1 (1999): 145–56. http://dx.doi.org/10.2307/832026.

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48

Cohn, Richard. "Uncanny Resemblances: Tonal Signification in the Freudian Age." Journal of the American Musicological Society 57, no. 2 (2004): 285–324. http://dx.doi.org/10.1525/jams.2004.57.2.285.

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Early twentieth-century psychological theorists (Ernst Jentsch, Sigmund Freud) associated the uncanny with the occlusion of the boundary between real and imaginary, and with the defamiliarization of the familiar. Their music-theoretic contemporaries (Heinrich Schenker, Ernst Kurth, Alfred Lorenz) associated reality with consonance, imagination with dissonance. Late Romantic composers frequently depicted uncanny phenomena (in opera, song, and programmatic instrumental music) through hexatonic poles, a triadic juxtaposition that inherently undermines the consonant status of one or both constituents. Quintessentially familiar harmonies become defamiliarized liminal phenomena that hover between consonance and dissonance, thereby embodying the characteristics they are called upon by composers to depict. Examples of uncanny triadic juxtapositions are drawn from music of Gesualdo, Monteverdi, Haydn, Wagner, Mahler, Grieg, Richard Strauss, Sibelius, Puccini, Ravel, and Schoenberg.

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Barros, Guilherme Sauerbronn de. "Relato de Pesquisa: “Procedimentos Analíticos e Princípios Filosóficos – uma Avaliação Crítica da Obra de Heinrich Schenker”." DAPesquisa 3, no. 5 (December 31, 2008): 798–801. http://dx.doi.org/10.5965/1808312903052008798.

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Rothgeb, John, and Hellmut Federhofer. "Heinrich Schenker: Nach Tagebüchern und Briefen in der Oswald Jonas Memorial Collection, University of California, Riverside." Journal of Music Theory 45, no. 1 (2001): 151. http://dx.doi.org/10.2307/3090651.

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