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Thesis--Columbia University. / Includes bibliographical references (leaves 601-618).

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.

Der Beitrag bietet eine Einführung in die Schichtenlehre Heinrich Schenkers ohne Anspruch auf Vollständigkeit. Die Darstellung fokussiert grundlegende Ereignisse in Vorder- Mittel- und Hintergrund, ohne die Lehre vom Ursatz explizit zu berühren (letztere ist nach Auffassung des Autors aufgrund ihres hohen Abstraktionsniveaus als Einstieg nicht geeignet). Nach Klärung einiger für die schenkerianische Analyse zentraler Begriffe wie ›Stufe‹, ›Auskomponierung‹ und ›Tonikalisierung‹ wird sich unterschiedlichen Verfahren der ›Modulation‹ in Exposition und Durchführung diverse Sonatensätze von Wolfgang Amadé Mozart zugewandt. Gezeigt werden gängige kontrapunktische Verfahren (5–6–5-Fortschreitung und chromatischer Stimmtausch) sowie die Bedeutung ›motivischer Parallelismen‹ für den Zusammenhang zwischen thematischer Motivik und harmonischem Stufengang. / This article offers an introduction into Heinrich Schenker’s method of graphic analysis (without any claim of completeness). The approach focuses on fundamental events in the fore-, middle- and background without explicitly addressing the concept of the Ursatz, which the author considers inappropriate for an introduction due to its high level of abstraction. After defining some terms central to Schenkerian analysis like Stufe, Auskomponierung, and Tonikalisierung, different treatments of “modulation” in the expositions and developments of various sonatas by Wolfgang Amadé Mozart will be examined. Common contrapuntal patterns (e.g., 5–6–5 progression and chromatic voice exchange) and the significance of “motivic parallelisms” for the relationship between thematic motives and harmonic progression will be shown.

Thesis (Ph. D.)--Open University. BLDSC no. DX180682.

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.

The thesis presents Schenker's theory of musical structure as grounded in the (mainly pedagogic) music theory and practice of the eighteenth century, like the music of the period of German classicism to which it relates. It argues that Scheriker was right to see his theory as having a wider significance than the strictly music-theoretical, and that the music-structural concept which he elaborated and codified is inseparable from the work as a whole. Set apart from the aesthetic and cultural outlook from which it emerged, the historical and critical studies of the repertory and of the theoretical literature, it may still be usable, but it is profoundly impoverished and loses the very particular meaning it had for Schenker. The thesis proposes that while Schenker' s formulation of his structural concept is unique,. the concept itself is not, but was a cultural property which Schenker re-discovered and that it is in this re-discovery as much as in the thing itself that the significance of his work resides. The view of Schenker as an eccentric is counterbalanced by a picture of a thinker moulded by experiences anything but unique to him, but, nevertheless unique to a particular historical phase. It is suggested that in the absence of a minimal degree of understanding of this phase and these experiences no judgement of Schenker as thinker,' writer, even musician, can properly be made. Chapter One gives a brief account of Schenker' s career. Chapter Two attempts to define a context for his exploration of eighteenth- and nineteenth-century pedagogic theory. Chapter Three attempts to dispose of sane mid-century shibboleths inhibiting understanding of Schenker. Chapter Four explores the radical changes in the character of musical scholarship taking place in Schenker' s lifetime, relating these to developments in other fields, especially in philology, and considers their effect on him. Chapter Five considers Schenker' s attitude towards aesthetic and scientific theories in circulation in his day and their contribution to the formulation of his music-structural concept and its development. The main focus of this chapter is the metaphysics of music of Schopenhauer. Chapter Six examines sane of the problems arising from Schenker' S historical-cultural situation and considers the enabling role played for him by the work of Nietzsche.

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.

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.

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