Heinrich Schenker's Contribution

Schenkerian Theory in the United States. A Review of Its Establishment and a Survey of Current Research Topics

“…(His friend and neighbor in Florence, Italy, was the artist Victor Hammer, an associate and advocate of Schenker.) After returning to the US, Sessions wrote about Schenker in three articles (at times negatively); see Sessions 1935Sessions , 1938aSessions , and 1938b. During this period he also taught Milton Babbitt, subsequently eminent as a composer and twelve-tone theorist.…”

Structural levels of rhythm and form in African music: with particular reference to the West Coast

“…We are aw11re that some of our readers may not be familiar with the works and theories of Schenker. Since many of Schenker's works are still not available in translation, we gladly refer interested readers to some of Schenker's theories available in the works of other theorists, 1 including notably: Katz (1935), Sessions (1935), Mann (1949), Jonas (1954), Forte (1959), Salzer (1962), Beach (1969), Komar (1971), and Rothgeb ( 1972), among others. In spite of the controversy which surrounds Schenker's theories, even those who are not at all in sympathy with his ideas tend to accept, even if reservedly, the principle of the existence of the three structural levels in all tonal music.…”