The essays contained in this volume provide a focus on the work of the music theorist Heinrich Schenker - a figure of legendary status who has had an incalculable influence on developments in music theory and analysis in this century. His theories, not always fully understood, have aroused some controversy. The broad spectrum of essays presented here will help clarify Schenker's ideas and their application and will also serve as a useful introduction to his work for music theorists. The essays, written by fourteen leading theorists, originate in papers delivered at the Schenker Symposium held at The Mannes College of Music, New York in 1985.

Second volume of studies based on the work of Heinrich Schenker.

The first detailed study of Schenker's pathbreaking 1906 treatise, showing how it reflected 2500 years of thinking about harmony and presented a vigorous reaction to Austro-Germanic music theory ca. 1900.

This is the first comprehensive study of this century's most influential music theorist, Heinrich Schenker.

The first two volumes of Heinrich Schenker's masterwork Neue musikalische Theorien und Phantasien, Harmonielehren (1906), and Kontrapunkt (1910 and 1922), laid the foundations for the harmonic aspect of his theory. The specific voice-leading component was a later development, progressing with brilliance over the last 15 years of his life. It is in Free Composition (Freie Satz, 1935) that the idea of voice-leading receives its most detailed and precise formulation. Pendragon Press is honored to make this distinguished reprint available once again, with a new preface by Carl Schacter.

Heinrich Schenker (1868-1935) was arguably the most influential music theorist of the twentieth century. With his controversial approach to musical analysis, he clearly demonstrated the interdependence of harmony and counterpoint--the relation between chord and line--at different structural levels. The influence of this theory sparked a major revolution in music theory and has resonated in the theoretical work of a half-century of scholars. Trends in Schenkerian Research gathers the writings of the most recent generation of Schenkerian theorists, extending and amplifying ideas not fully developed by Schenker in his lifetime, and placing him in the broader context of theoretical history. Focusing on the topics of tonal rhythm, musical form, and motivic structure, these essays represent both analytical and theoretical elaborations of Schenkerian theory. Chann Willner's essay on Handel's motivic and rhythmic transformation of Telemann's music, and David Gagné's study of Mozart's use of register and texture in the context of musical form represent the analytical extension and practical application of Schenker's work. Extending the theoretical boundaries of Schenker's work, William Rothstein's theory of rhythmic displacement and normalization and Allen Cadwallader's exploration of form and design at different structural levels serve as corollaries to Schenker's original theory. By tracing the historical progression of the Ursatz concept, one of the most far-reaching theoretical constructs of the twentieth century, William Pastille illustrates Schenker's relevance in the history of music theory.

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