Schenker Studies 2

Edited by Carl Schachter, Hedi Siegel

The second volume of studies based on the work of Heinrich Schenker, now recognised as the twenty-first century’s most influential figure in the areas of music theory and analysis. The first section of the book contains three archival studies that derive from the contents of Schenker’s Nachlass, recently made available to scholars. Schenker’s unpublished papers also supplement several of the analytical studies in the second, larger section of the book. Eleven essays fall into four groups: studies in the Classic and Romantic repertory, studies in twentieth-century music, rhythmic studies and studies in the theory of Schenker’s fundamental analytical constructs, the Urline and the Ursatz.

Bibliographic Details

10 b/w illus. 3 tables 134 music examples

Contents

• Abbreviated references to Schenkers writings
• Preface
• Part I. Archival Studies: 1. Levels of understanding: an introduction to Schenkers Nachlass Robert Kosovsky
• 2. When Freier Satz was part of Kontrapunkt: a preliminary report Hedi Siegel
• 3. Schenkers unpublished work with the music of Johannes Brahms Allen Cadwallader and William Pastille
• Part II. Analytical Studies: 4. C. P. E. Bach and the fine art of transposition Wayne Petty
• 5. Comedy and structure in Haydns symphonies L. Poundie Burstein
• 6.Symphonic breadth: structural style in Mozarts symphonies David Gagné
• 7. Structural momentum and closure in Chopins Nocturne Op. 9, No. 2 John Rink
• 8. On the first movement of Sibeliuss Fourth Symphony: a Schenkerian view Edward Laufer
• 9. Voice leading as drama in Wozzeck Arthur Maisel
• 10. Sequential expansion and Handelian phrase rhythm Channan Willner
• 11. Strange dimensions: regularity and irregularity in deep levels of rhythmic reduction Frank Samarotto
• 12. Diachronic transformation in a Schenkerian context: Brahmss Haydn Variations Timothy Jackson
• 13. Bass-line articulations of the Urlinie Eric Wen
• 14. Structure as foreground: das Drama des Ursatzes Carl Schachter
• Index.