Schenker's Theory and the Future of Music

Benjamin, William E.; Schenker, Heinrich; Oster, Ernst

doi:10.2307/843471

Search citation statements

Order By: Relevance

Paper Sections

Select...

Harmonic Progressions and Prolongation In Post-tonal Music1

Citation Types

Supporting

Mentioning

Contrasting

Year Published

1991

2024

Publication Types

Select...

Article7

Book1

Relationship

Self Cite0

Independent8

Authors

Journals

Cited by 17 publications

(3 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…The tonal basis of prolongation is well established (see Schenker 1979;Jonas 1972;Benjamin 1981;Forte and Gilbert 1982). Prolongation of the bass is accomplished by means of the 'ascending bass arpeggiation', which outlines the interval of a fifth (Schenker 1979: 29).…”

Section: Harmonic Progressions and Prolongation In Post-tonal Musicmentioning

confidence: 97%

Harmonic Progressions and Prolongation in Post-Tonal Music

Pearsall¹

1991

Music Analysis

View full text Add to dashboard Cite

Section: Harmonic Progressions and Prolongation In Post-tonal Musicmentioning

confidence: 97%

Harmonic Progressions and Prolongation in Post-Tonal Music

Pearsall¹

1991

Music Analysis

View full text Add to dashboard Cite

“…The precise count of reviews is, like that of articles, slightly problematic. Occasionally, one review addresses several books together (e.g., the aforementioned clarkson 1968), and in a single case, a review symposium (Schachter 1981, epstein 1981, Benjamin 1981) is dedicated to a single book-Free Composition (Schenker [1935(Schenker [ ] 1979. This special honor, given to a translation of an older book, no doubt reflects the book's special status in music theory.…”

mentioning

confidence: 99%

Journal of Music Theoryover the Years

Goldenberg¹

2006

Journal of Music Theory

View full text Add to dashboard Cite

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.

show abstract

“…Instead, such a failure would only imply that music had been relinquished temporarily and that music history had come to a halt, to be resumed at some future time. (21)…”

mentioning

confidence: 99%