Anno 2015/2

Rivista di Analisi e Teoria Musicale
Anno XXI n. 1, 2015

Schenker's Formenlehre

edited by / a cura di Alessandro Cecchi

INDICE

Guest Editor's Note, pp. 7-8

Nota del Curatore, pp. 9-10

Saggi

Jason Hooper, An Introduction to Schenker's Early Formenlehre: Implications for His Late Work, pp. 11-40

Marc Rigaudière, Some Considerations on Schenker's Position in the Formenlehre Tradition, pp. 41-59

Frank Samarotto, Melodic Energies, and the Dynamics of Inner Form, pp. 61-78

Alessandro Cecchi, Looking beyond the Surface: Form, Force and Structure in Kurth and Schenker, pp. 79-98

Nicolas Meeùs, Formenlehre in Der freie Satz: A Transformational Theory, pp. 99-113

Christopher Brody, The Independence of Structural Parameters in Schenkerian Accounts of Tonal Form, pp. 115-127

Steven D. Mathews, Evaluating Schenkerian Analysis as a Complement to Sonata Theory, Formal Functions and Italian Schemata, pp. 129-151

Joel Galand, Some Schenkerian Implications for Sonata Theory, pp. 153-172

Notes on contributors, pp. 173-175

Notizie sugli autori, pp. 176-179

Alessandro Cecchi - pag. 7-8

Guest Editor's Note

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Alessandro Cecchi - pag. 9-10

Nota del curatore

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Jason Hooper - pag. 11-40

An Introduction to Schenker’s Early Formenlehre: Implications for His Late Work

This article introduces Heinrich Schenker’s early Formenlehre – from his first major theoretical statement, Der Geist der musikalischen Technik, to the first published mention of the Urlinie in his explanatory edition of Beethoven’s op. 101.

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Marc Rigaudière - pag. 41-59

Some Considerations on Schenker’s Position in the Formenlehre Tradition

Despite Schenker’s sarcastic comments on many aspects of the traditional theory of forms, it is undeniable that his analytical work until Das Meisterwerk in der Musik II (1926) still largely made use of terms and concepts that belonged in the nine- teenth-century.

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Frank Samarotto - pag. 61-78

The Urlinie, Melodic Energies, and the Dynamics of Inner Form

Schenker’s Ursatz may be an effective model of tonal unity, but that very unity renders its connection with form unclear. This article considers this question from the point of view of energetics.

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Alessandro Cecchi - pag. 79-98

Looking Beyond the Surface: Form, Force and Structure in Kurth and Schenker

This article examines the position of form and Formenlehre in energetic theories of music emerged in the first decades of the twentieth century, with particular focus on Kurth and Schenker.

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Nicolas Meeùs - pag. 99-113

Formenlehre in Der freie Satz: A Transformational Theory

In Der freie Satz, Schenker stresses the innovational character of his description of forms. Yet his Formenlehre does not appear so different from more traditional ones. My claim is that the novelty resides in Schenker’s description of the growth of forms through the levels of prolongation, in a truly transformational process.

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Christopher Brody - pag. 115-127

The Independence of Structural Parameters in Schenkerian Accounts of Tonal Form

Schenkerian theory distinguishes two components of musical structure, thematic design and tonal structure, whose respective roles in creating musical form are left unclear in Schenker’s own work: the Versuch einer neuen Formenlehre from his cap- stone Free Composition (1935) disclaims any reliance on thematic design, while his analyses show a clear awareness of it.

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Steven D. Mathews - pag. 129 - 151

Evaluating Schenkerian Analysis as a Complement to Sonata Theory, Formal Functions and Italian Schemata

The following essay argues that Caplin, Gjerdingen, and Hepokoski and Darcy explicitly and implicitly borrow ideas from the works of Heinrich Schenker while simultaneously relegating Schenkerian concepts, making anti-Schenkerian protests, and opposing certain Schenkerian interpretations in their own work. 

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Joel Galand - pag. 153-172

Some Schenkerian Implications for Sonata Theory

In Elements of Sonata Theory (2006), James Hepokoski and Warren Darcy devote comparatively little space to the Schenkerian implications of their approach, but what they do write is intriguing, opening up broad avenues for research. This article contributes to that project by confronting Schenkerian theory with the hierarchy of “default” strategies that Hepokoski and Darcy erect around the “medial caesura” (MC).

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