Piano Sonata in C Minor, Op. 111

Schenker, Heinrich

doi:10.1093/acprof:oso/9780199914241.001.0001

Cited by 3 publications

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“…In the graphs of the first movement (10)(11), for example, Schenker marks prominent descending linear progressions in the upper voice added at level 2, and adds unfoldings in the bass at level 3. (22) Similar observations can be made in other extended analyses from Meisterwerk II (Schenker [1925(Schenker [ ] 1994, where linear progressions are usually the prominent level-distinguishing features. (23) [3.3.3] We can differentiate Schenker's analyses based on voice-leading transformation (which he specifically refers to as "Stimmführungsverwandlungen" or "Stimmführungs-schichten") from earlier voice-leading prolongation graphs, such as the analyses of Bach's Little Preludes.…”

Section: Schenker's Structural Levelssupporting

confidence: 58%

“…However, the concept of horizontalization was not united with that of Zug until somewhat later, first appearing in two of the analyses in Tonwille 10, (28) and being consolidated into a theory of voice-leading transformation in the "Further Considerations of the Urlinie" essays. (29) Even in Tonwille 7 Schenker refers to a "third-progression" ("Terzzug") in Beethoven's Piano Sonata op. 57 that is motivic but outlines an interval between dissonant notes (Schenker [1923(Schenker [ -4] 2005.…”

Section: Schenker's Structural Levelsmentioning

confidence: 99%

“…[4.3.2] The graphs of Example 15a work out the specifics of the analysis in Example 12c. Levels 0-1 derive the Ursatz as the unfolding of the "chord of nature" (Schenker [1925(Schenker [ ] 1994, while levels 1-2 (34) add the superposed inner voice F-G-F and unfold the counterpoint of the two upper voices. (35) This example also introduces a new notation, an "8" drawn over the network edge to show an octave change.…”

Section: Echoes Of the Structural --mentioning

confidence: 99%

See 2 more Smart Citations

Voice-Leading Transformation and Generative Theories of Tonal Structure

Yust

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[0.1.1] As the theories of Heinrich Schenker were gaining currency in the United States in the mid-twentieth century, Milton Babbitt observed that Schenker's theory of voice-leading levels was "strikingly similar to transformational grammars in linguistics" (1965, 60 Numerous generative approaches to explaining tonal structure and/or Schenker's theories have been proposed since Babbitt noted a resemblance between Schenker's analytical method and Chomskian generative grammars in 1965. One of the more challenging features of Schenker's theory to replicate in a generative system is the interaction of counterpoint and hierarchy. Many theorists, such as Lerdahl and Jackendoff, skirt the problem by developing non-contrapuntal systems, meaning ones that do not allow for layers with conflicting hierarchical descriptions.

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Section: Schenker's Structural Levelssupporting

confidence: 58%

Section: Schenker's Structural Levelsmentioning

confidence: 99%

Section: Echoes Of the Structural --mentioning

confidence: 99%

See 1 more Smart Citation

Voice-Leading Transformation and Generative Theories of Tonal Structure

Yust

2015

MTO

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When All You Have is a Hammer: Surface/Depth as Good Comparison

Sewell¹

2021

Music Theory Spectrum

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This article interrogates and reimagines the approach to reductive music analysis characterized by spatial metaphors (like “underlying” harmony). Such language portrays analysis as the process of discovering a structure “beneath” a piece’s “surface.” I argue that this picture downplays the multi-faceted, varied processes that go into creating musical reductions. Examining details of several different kinds of relationships between “surface” and “depth,” I show that while the traditional characterization is analytically apt in many cases, it encourages false equivalences in others. Borrowing Schoenberg’s description of music theory as being based in “good comparison,” I suggest that such an alternative conception might better suit some of our engagements with reductive analysis. Moreover, adopting this alternative might encourage different kinds of engagements, altering our perspective in a way that makes constructing reductions a much more flexible—and potentially more powerful—approach than has hitherto been the case.

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Tonality, Racism, and White Indifference

Ewell

2024

Journal of Music Theory

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Piano Sonata in C Minor, Op. 111

Cited by 3 publications

References 0 publications

Voice-Leading Transformation and Generative Theories of Tonal Structure

Voice-Leading Transformation and Generative Theories of Tonal Structure

When All You Have is a Hammer: Surface/Depth as Good Comparison

Tonality, Racism, and White Indifference

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