Re: A New Concept of Tonality (?)

Oster, Ernst

doi:10.2307/843052

Cited by 17 publications

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“…The price of this decision is leaving some classical items outside the corpus. For example, Travis 1959 is included in the database, but the reply by Oster (1960), "a classic in the polemics of music theory" (Rothstein 1986(Rothstein , 12 [1990), is not.…”

Section: The Database Of the Present Studymentioning

confidence: 99%

Journal of Music Theoryover the Years

Goldenberg¹

2006

Journal of Music Theory

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Bibliometric tools and especially content analysis of all 393 articles published in Journal of Music Theory (up to issue 48/1) help to investigate the development of the content of this journal. The articles were classified according to their type, the theoretical aspect, the period of repertoire discussed, and major composers or theorists they were devoted to. Among the major findings, one can trace in a precise manner the centripetal process toward focus on Schenkerian and set theories (and the more recent opposite process), the almost total separation of discussions of tonal and posttonal music, the more recent inclusion of neo-Riemannian theory, the para-academic nature of some earlier areas of interest, the correlation between an established method and the repertoire discussed, the general solid focus on hard-core theory with very few glimpses to interdisciplinary studies, and the slow and partial change that involves metatheoretical approaches. Other aspects include the growth of the journal, its importance, and its editors and contributors.

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Section: The Database Of the Present Studymentioning

confidence: 99%

Journal of Music Theoryover the Years

Goldenberg¹

2006

Journal of Music Theory

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The Schenker Project

Cook

2007

137

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Today we think of Heinrich Schenker, who lived in Vienna from 1884 until his death in 1935, as the most influential music theorist of the 20th century. But he saw his theoretical writings as part of a comprehensive project for the reform of musical composition, performance, criticism, and education — and beyond that, as addressing fundamental cultural, social, and political problems of the deeply troubled age in which he lived. This book aims at an understanding of Schenker's project through reading his key works within a series of period contexts. These include music criticism, the field in which Schenker first made his name; Viennese modernism, particularly the debate over architectural ornamentation; German cultural conservatism, which is the source of many of Schenker's most deeply entrenched values; and Schenker's own position as a Galician Jew who came to Vienna just as traditional anti-semitism was becoming fully racialized. As well as presenting an unfamiliar perspective on the cultural and political ferment of fin-de-siècle Vienna, this approach reveals how deeply the social and political were thought into Schenker's theory. It also raises issues concerning the meaning and value of music theory, and the extent to which today's music-theoretical agenda unwittingly reflects the values and concerns of a very different world.

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2007

The Schenker Project

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Re: A New Concept of Tonality (?)

Cited by 17 publications

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Journal of Music Theoryover the Years

Journal of Music Theoryover the Years

The Schenker Project

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