Concepts of Linearity in Schoenberg's Atonal Music: A Study of the Opus 15 Song Cycle

Abstract

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.. Duke University Press and Yale University Department of Music are collaborating with JSTOR to digitize, preserve and extend access to Journal of Music Theory.

Journal of Music Theoryover the Years

“…Schenkerian theory was introduced into JMT in an early and general article (Forte 1959). 33 Due to its nature, that article can still be read today by less professional readers than would be required for most articles in the field; on the other hand, it is perhaps unnecessary to get acquainted with Schenkerian theory via such an article today, when Schenker's main books are translated into english and especially when good textbooks exist.…”

“…Browsing Schenkerian bibliographies reveals slightly different results: Berry 2004 includes eighty-three JMT articles (updated to 45/2), excluding the Schenkerian bibliographies. Six items are missing (e.g., Mcnamee 1985 andForte 1988), but many marginal items are included, due to Berry's wise policy "to err on the side of inclusion" (Berry 2004, 1). ayotte 2004 is considerably less complete and includes fifty-eight JMT entries (excluding the bibliographies) but also at least one irrelevant item-Forte 1992 on Hindemith.…”

Theory, Analysis and Meaning in Music

“…Allen Forte's 1959 essay, "Schenker's Conception of Musical Structure" (Forte 1977), in particular, is singled out for blame here. This is a questionable reading of Forte's position, however,4 and it sits uncomfortably with the evidence of Schenker's own writings, which often stress-as Snarrenberg himself acknowledges-awareness of a dialectical interplay of generative analyseselaborations of the Ursatz-and reductive thinking, a balance necessary to composer and analyst alike.…”

“…NOTES 1. Recent perspectives on the theory/history relationship include Korsyn 1993 and Hatch-Bernstein 1993; on musical construction of gender, see especially Solie 1993; on the relationship of musical and verbal meanings, see Scher 1992; on the breakdown of a "high-low" cultural split in 20th-century music, see Watkins 1994;Subotnik 1991 gives a more theoretical overview of the same phenomenon; for a theoretically informed response to popular musics see Forte 1995, Kowalke 1995 2. It is unfortunate, in a discussion so focused on shades of figurative meaning in language, that more of Schenker's original German prose is not given following the translated quotations.…”

Scriabin's Prelude Op. 67 No. 1: Pitch Orthography, Musical Climax and Form

“…associating pitches based on musical context, such as register, dynamics or timbre), because they can be orthographically represented through contextually linking either common or enharmonic pitches within a chord progression. Additionally, on the related topics of associational voice leading, see Chapman (), Hasty () and Forte ( and ).…”