Organic Structure in Sonata Form

Schenker, Heinrich; Grossman, Orin

doi:10.2307/843310

Cited by 6 publications

(6 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…In his essay on the organic structure in sonata form, Schenker (1926) developed interesting concepts to demonstrate the motivic unity of this musical form. He introduced concepts such as &dquo;the improvisation-derived driving force (,S'te~~°ei7'=Zu~~'9 and &dquo;the sweep of improvisation (aus dem Stegreij)&dquo; to illustrate how the musical genius achieve a work of art by means of the &dquo;composingout (Auskomponierung)&dquo; process which rules the creative improvisation of the composer.…”

Section: An Approach To Musical Syntaxmentioning

confidence: 99%

Music, Mind and Programs

Camilleri¹

1986

Diogenes (Engl. ed.)

View full text Add to dashboard Cite

In the novel Die Automate (Hoffmann, 1957 ed.), the German writer Ernst Theodor Amadeus Hoffmann (1776-1822) describes different kinds of musical automatons which play music with expression and musicality. The whole novel is based on the effect of the automatic performances on the feelings of the two personages and on the appearance of musical automatons which simulate, with their musical skill and expressiveness, the structures of the knowledge and feelings of human beings.

show abstract

Section: An Approach To Musical Syntaxmentioning

confidence: 99%

Music, Mind and Programs

Camilleri¹

1986

Diogenes (Engl. ed.)

View full text Add to dashboard Cite

show abstract

“…Marston's is only the most recent exploration of Beethoven's projection of this melodic interval onto the larger structure. Lengthy published analyses of Opus 109 by Heinrich Schenker and Allen Forte discuss the matter in detail (Schenker 1913(Schenker ,1926Forte 1961); and Korsyn uses the Vivace sections as an example of the "principle of disclosure: something that is hidden is revealed", in the sense that remote and immediate structural levels interact (1983: 31). 9 A chart first published by Schenker in 1926 (see Example 2) handily summarizes the role of the motive G#-B as a structural kingpin that inspires action and provides unity in the first movement.…”

Section: # * #mentioning

confidence: 99%

“…The chart, along with relevant explanatory passages from Schenker's diaries and from "Organischen", is quoted in a footnote in the Jonas edition of Schenker 1913:18-19. Marston (1986c quotes this material again, in his own translation.…”

Section: # * #mentioning

confidence: 99%

The First Movement of Beethoven's Opus 109: Compositional Genesis and Structural Dialectic

Bazzana¹

1992

Canadian University Music Review

View full text Add to dashboard Cite

“…Moreover, we report here only the conscious aspects of our efforts to perform this task, not our tacit stylistic knowledge). However, if one is willing to entertain the project of creating complete movements out of schemata in an ars combinatoria that is bound by some formal constraints, one might also consider the positions of Riepel (1752-68), Eckert (2000), or Gjerdingen (2007), and not only the organicist line of thinking represented by Schenker's (1926) view of sonata form or of Brown's (2005) cognitive recasting of Schenkerian theory. (12) Therefore, modern-day engagement with the task of improvising music in eighteenth-century style relates to some of the fundamental problems in music theory.…”

Section: Guiding Our Students and Ourselves Along Paths To Eighteenthmentioning

confidence: 99%

Towards a Galant Pedagogy

Rabinovitch

Slominski

2015

MTO

View full text Add to dashboard Cite

[1.1] In recent years, there has been a growing scholarly interest in eighteenth-century Neapolitan partimenti and galant schemata on the one hand, and in the practice of teaching theoretical concepts to modern musicians through improvisation and model composition on the other. The work of Gjerdingen (2007) and Sanguinetti (2012) has yielded significant insights into historical models for composition, improvisation, and, presumably, into the cognition of eighteenth-century musicians and listeners. The cognitive archaeology offered in Robert Gjerdingen's (2007) book, Music in the Galant Style, (1) relies on three main sources: period theoretical treatises including the Italian pedagogical tradition of partimenti, a wide repertoire of pieces from the period, and modern-day research in cognitive psychology. Gjerdingen thereby attempts to reconstruct eighteenth-century cognitive schemata or mental patterns that are defined primarily by outer-voice scale-degree pairings. Sanguinetti's work is more historical in nature: in his monograph on the tradition of partimenti, Sanguinetti offers a reconstruction of this lost pedagogical tradition. A partimento is a bass line, typically unfigured, used in the teaching of composition and improvisation. The tradition flourished in conservatories in Naples and other Italian cities in the seventeenth and eighteenth centuries, and continued onwards, in different incarnations, into the nineteenth century and beyond. ABSTRACT: This article presents a pedagogical approach for teaching modern-day students how to improvise in eighteenthcentury style based on Gjerdingen's schemata and the tradition of partimenti. We present results from a pedagogical experiment conducted at the Eastman School of Music, in which students' improvisations were recorded. We offer a qualitative assessment of selected student improvisations in order to demonstrate the merits of this approach for teaching music theory and historical improvisation. We also address the challenges associated with implementing such a pedagogical approach in modern-day theory curricula. We conclude by reflecting on sonata-form improvisations by the authors and discuss the theoretical implications of attempting to construct complete movements based on Gjerdingen's schemata and formal considerations.

show abstract

Organic Structure in Sonata Form

Cited by 6 publications

References 0 publications

Music, Mind and Programs

Music, Mind and Programs

The First Movement of Beethoven's Opus 109: Compositional Genesis and Structural Dialectic

Towards a Galant Pedagogy

Contact Info

Product

Resources

About