The purpose of this thesis is to illustrate and compare, through a representative historical sampling of music, the concepts of tonality evolved by Paul Hindemith in his Craft of Musical Composition, Vol. I; and Heinrich Schenker in his Tonwille, MusijNkeael ische Theorien Fantasien, Das jeisterwerk in der Musik, and Per Freie Satz.5 When feasible, these two concepts will be compared with the conventional concept.

This study investigates the influence of the Austrian music theorist Heinrich Schenker on American music theory since 1940, including a survey of writings related to Schenker and theory textbooks displaying his influence. The Schenker influence on American music theory includes many journal articles on Schenker and his principal students. His methods are employed often in analytical discussions of various issues. In addition to numerous dissertations and theses written about Schenker, a number of textbooks are now based wholly or in part on his approach to musical understanding. The current trend towards accepting Schenker's theories is likely to continue as more people are exposed to his teachings.

When Schenkerian theory began to influence scholarly circles in the United States, the primary - although not the only - work to which scholars had access was Schenker's last monograph, Der freie Satz. Reading textual passages and examining the many musical graphs in the companion volume of examples influenced their concept of the fundamental structure as Schenker understood it, as well as the relationship of the other levels (Schichten) to the larger structure. The problem is that most of the second generation of Schenkerian scholars were reading the 1956 second German edition, not the 1935 first German edition. The second edition had been altered for textual and musical content by Schenker's student, Oswald Jonas - so there is already a disconnect between the original version and the text scholars were reading at that time (the 1950s, 60s, and 70s). Furthermore, many younger North Americans were insufficiently fluent in German to be able to read the work in the original language. In order to make Schenker's treatise accessible to English-speaking scholars, Ernst Oster set about translating the work into English, a task completed in 1979 just after his death. The text was based on the second German edition (ed. Jonas, Vienna, 1956), but the first edition (Vienna, 1935) was consulted also. Examples that were changed from the 1935 edition in the 1956 edition were not restored. The first problem for those interested in gaining a more accurate understanding of Schenker's theories is that the first German edition is still unavailable in complete translation. The second and more serious issue involves the genesis of the first German edition. All these problems concerning the publication of the various editions have led to an incomplete understanding of the work. Complicating matters is the relatively unexplored state of the late manuscript of Der freie Satz in the Vienna collection. This study investigates the differences between the late manuscript material preserved in Vienna and the 1935 German printed edition of Schenker's Der freie Satz. The author seeks to provide new insight into the ordering of the text, and reveals, translates, and elucidates some omitted text and analyses.

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.

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.

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.

Orientador: Maria Lucia Senna Machado Pascoal / A biblioteca do IA possui CD-ROOM / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-02T12:26:48Z (GMT). No. of bitstreams: 1 Franco_CesarHenriqueRocha_M.pdf: 4594458 bytes, checksum: f4374bfa88db1e2f5411bd661eadebcd (MD5) Previous issue date: 2002 / 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

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. / Arts, Faculty of / Music, School of / Graduate

This dissertation raises problems with the methodology of Schenkerian analysis and attempts to find solutions. Balancing ideological critique, intellectual history, and musical analysis with criticisms of the theory itself, my aim is to argue that Schenker’s conception of his own theory—and in particular of his background Urlinie—has greatly restricted the analytical possibilities of his methodology, including how it is practiced today. Chapter 1 will introduce and summarize this argument as a whole, including some of my musical and philosophical priors. Chapter 2 will explore how Schenker’s assumptions about his theory fulfill what I will (following Nicholas Cook) characterize as a “retrospective prophecy,” which I argue is continuous with the motivated and circular reasoning that propped up Schenker’s problematic wider ideology. Chapter 3 introduces two ideas that combat this tendency and inform my own analyses: the “modified” approaches to Schenker (in the work of scholars like David Neumeyer) as well as “oscillation” between different analytical interpretations (as Marianne Kielian-Gilbert describes work like Joseph Dubiel’s). Chapter 4 attempts to bring these two together, and I argue that this opens the way to a greater degree of analytical possibility than has hitherto been realized. In short, I argue that contemporary Schenkerian analysis has remained too tied to Schenker’s original formulation, to the detriment of the theory, but that not many Schenkerians have appreciated this. Along with attempting to find solutions to my problems, then, I want to convince Schenkerians that there are problems here to be solved in the first place, by showing how the very things analysts find valuable about the theory can be improved through the incorporation of “modified” and/or “oscillatory” approaches.

This thesis uses two different musical analytical systems, one of Heinrich Schenker and one of Paul Hindemith, to analyze tonality within "Die Gurre Lieder" and "Fourth String Quartet" by Arnold Schoenberg.