[Footnotes]

[Footnotes]
1
Milton Babbitt, "Past and Present Concepts of the Nature and Limits of Music," in Perspectives on Contemporary Music Theory, ed. Benjamin Boretz and Edward T. Cone (New York, 1972), p. 5.
Babbitt
Past and Present Concepts of the Nature and Limits of Music
5
Perspectives on Contemporary Music Theory
1972
2
Babbitt, "Past and Present," p. 5.
Babbitt
5
Past and Present
3
Marion A. Guck, "Rehabili- tating the Incorrigible," in Theory, Analysis and Meaning in Music, ed. Anthony Pople (Cambridge, 1994), pp. 57-73
Guck
Rehabilitating the Incorrigible
57
Theory, Analysis and Meaning in Music
1994
Matthew Brown and Douglas J. Dempster, "The Sci- entific Image of Music Theory," Journal of Music Theory 33 (1989), 65-10610.2307/843666
65
William Rothstein, "The Americanization of Schenker," in Schenker Studies, ed. Hedi Siegel (Cambridge, 1990), pp. 193-203
Rothstein
The Americanization of Schenker
193
Schenker Studies
1990
Robert Snarrenberg, Schenker's Interpretive Practice (Cambridge, 1997)
Snarrenberg
Schenker's Interpretive Practice
1997
4
Journal de Trévoux (October-November 1722)
October
Journal de Trévoux
1722
The Complete Theoretical Writings of Jean-Philippe Rameau (1683-1764), ed. Erwin R. Jacobi, vol. 1 (American Institute of Musicology, 1967), pp. xxviii- xlix
Jacobi
xxviiixlix
1
The Complete Theoretical Writings of Jean-Philippe Rameau (1683-1764)
1967
Nouveau systéme de musique thèoretique et pratique (1726)
Nouveau système de musique théoretique et pratique
1726
Génération harmonique ou traite de musique théorique et pratique (1737)
Génération harmonique ou traité de musique théorique et pratique
1737
Démonstration du principe de l'harmonie servant de base à tout l'art musical thdérique et pratique (1750)
Démonstration du principe de l'harmonie servant de base à tout l'art musical théorique et pratique
1750
Thomas Christensen, Rameau and Musical Thought in the Enlightenment (Cam- bridge, 1993), esp. chap. 6
Christensen
Rameau and Musical Thought in the Enlightenment
1993
5
Jean- Jacques Rousseau claimed in Essai sur l'origine des langues, où il est parlé de la mélodie, et de l'imitation musicale, Bibliothéque du Graphe (Paris, 1976)
Claimed
Essai sur l'origine des langues, où il est parlé de la mélodie, et de l'imitation musicale, Bibliothéque du Graphe
1976
6
Christensen, Rameau and Musical Thought, passim.
Christensen
Rameau and Musical Thought, passim
7
"Tonality's origin is found-and rightly so-in the laws of sound" (Style and Idea [Berkeley and Los Angeles, 1975], p. 259)
Tonality's origin is found-and rightly so-in the laws of sound
259
Style and Idea
1975
ibid., p. 262
262
8
Heinrich Schenker, Harmony, trans. Elisabeth Mann Borgese, ed. and ann. Oswald Jonas (Cambridge, Mass., 1973)
Schenker
Harmony
1973
The first German edition was published anony- mously "von einem Künstler" as Harmonielehre, vol. 1 of Neue musikalische Theorien und Phantasien (Vienna, 1906)
von einem Künstler
1
Harmonielehre
1906
Leslie David Blasius, Schenker's Argument and the Claims of Music Theory (Cambridge, 1996), esp. chap. 1
Blasius
Schenker's Argument and the Claims of Music Theory
1996
9
Allen Forte ("Schenker's Conception of Musical Structure," in Read- ings in Schenker Analysis and Other Approaches, ed. Maury Yeston [New Haven, 1977], pp. 3-37)
Forte
Schenker's Conception of Musical Structure
3
Readings in Schenker Analysis and Other Approaches
1977
"desultory" (p. 36)
36
desultory
Edward Aldwell and Carl Schachter are skeptical about the overtone series' regulatory function for tonal music in Harmony and Voice Leading (New York, 1978), pp. 21-22
Aldwell
21
Harmony and Voice Leading
1978
"otherwise arbi- trary prejudices and restrictions in his analytical tech- niques" in A Guide to Musical Analysis (Oxford, 1987), p. 39
39
A Guide to Musical Analysis
1987
Eugene Narmour, Beyond Schenkerism: The Need for Alternatives in Music Analysis (Chicago, 1977), pp. 12-30
Narmour
12
Beyond Schenkerism: The Need for Alternatives in Music Analysis
1977
10
Schenker, Harmony, p. 20.
20
11
Schenker, Free Com- position (Der freie Satz): Volume III of New Musical Theo- ries and Fantasies, trans. and ed. Ernst Oster, 2 vols. (New York, 1979), secs. 268-70
Schenker
Free Composition (Der freie Satz): Volume III of New Musical Theories and Fantasies
1979
13
Harmonielehre, pp. 37-38
37
Harmonielehre
ibid., p. 43
43
ibid., pp. 39, 51, and 54
39
ibid., p. 268
268
ibid., p. 51
51
14
Schenker made a similar claim concerning his discovery of the fundamental line in Das Meisterwerk in der Musik: Ein Jahrbuch, vol. II (Munich, 1926), p. 41
Schenker
41
II
Das Meisterwerk in der Musik: Ein Jahrbuch
1926
15
Snarrenberg, Schenker's Interpretive Practice, p. 10, n. 3.
Snarrenberg
10
Schenker's Interpretive Practice
16
Matthew Brown, "The Diatonic and the Chromatic in Schenker's Theory of Harmonic Relations," Journal of Mu- sic Theory 30 (1986), 10.10.2307/843407
10
17
Schenker, Harmony, pp. 26, n. 17 and 30, n. 19
26
18
Schenker, Free Composition, p. 145 (emphasis added).
145
19
Schenker, genius is a kind of medium: "A great tal- ent or a man of genius, like a sleepwalker, often finds the right way, even when his instinct is thwarted by one thing or another or, as in our case, by the full and conscious intention to follow the wrong direction. The superior force of truth-of Nature, as it were-is at work mysteriously behind his consciousness, guiding his pen, without caring in the least whether the happy artist himself wanted to do the right thing or not" (Harmony, p. 60)
Schenker
60
Harmony
Schenker, "On Organicism in Sonata Form," The Masterwork in Music: A Yearbook, v.2 (1926), ed. William Drabkin (Cambridge, 1996), p. 23
Schenker
On Organicism in Sonata Form
23
2
The Masterwork in Music: A Yearbook
1996
ibid., p. 28
28
Harmony, pp. v and 21
Nicholas Cook, "Schenker's Theory of Music as Eth- ics," Journal of Musicology 7 (1989), 415-3910.2307/763775
415
Schenker's Interpretive Prac- tice, pp. 84-86
Schenker
84
Interpretive Practice
21
Harmony, p. 83
83
22
Harmony, pp. 26 and 29
26
Schenker's essay on Rameau appears in The Master- work in Music: A Yearbook v.3 (1930), ed. William Drabkin (Cambridge, 1997), pp. 1-9
Schenker
1
3
The Masterwork in Music: A Yearbook
1997
23
Schenker, Harmony, p. 23
23
ibid., pp. 84-85
84
25
Harmony, p. 78
78
Harmonielehre, p. 99
99
Harmonielehre
Harmony, p. 204
204
Harmony, pp. 188-89
188
26
Schenker, Harmony, pp. 41 and 38
41
Harmony (p. 41, n. 24)
41
Introduction to the Theory of Heinrich Schenker (Einführung in die Lehre Heinrich Schenkers): The Nature of the Musical Work of Art, trans. and ed. John Rothgeb (New York, 1982), pp. 21-23
21
Introduction to the Theory of Heinrich Schenker (Einführung in die Lehre Heinrich Schenkers): The Nature of the Musical Work of Art
1982
Harmony, p. 53
53
28
Schenker, Harmony, p. 38
38
ibid., pp. 38-39
38
29
Schenker, Harmony, p. 40
40
Introduction to the Theory of Heinrich Schenker, p. 21
21
Introduction to the Theory of Heinrich Schenker
ibid., p. 21
21
30
Schenker, Harmony, p. 30.
30
31
Ibid., p. 40.
40
32
Ibid., p. 50.
50
33
Ibid., p. 44.
44
34
Schenker, Harmony, p. 52
52
Schenker's Interpretive Practice, p. 105
Schenker
105
Interpretive Practice
n. 19
35
Kate Soper, What is Nature?: Culture, Politics and the Non-Human (Oxford, 1995)
Soper
What is Nature?: Culture, Politics and the Non-Human
1995
36
Schenker, Harmony, p. 46.
46
37
Von Cube, The Book of the Musical Artwork: An Interpretation of the Musical Theories of Heinrich Schenker, trans. David Neumeyer, George R. Boyd, and Scott Harris (Lewiston, N.Y., 1988), table III, pp. 94-95
Von Cube
94
The Book of the Musical Artwork: An Interpretation of the Musical Theories of Heinrich Schenker
1988
ibid., p. 93
93
38
Schenker, Harmony, pp. 42 and 46
42
39
Harmony, pp. 50-51
50
40
Schenker, Harmony, pp. 248 and 250
248
41
Charles Rosen, So- nata Forms (rpt. New York, 1988), pp. 354-55
Rosen
354
Sonata Forms
1988
42
Schenker, Harmony, pp. 247-49.
247
43
Schenker, Harmony, p. 246
246
Tovey, Essays in Musical Analysis, vol. 3 Concertos (London, 1936), p. 85
Tovey
85
3
Essays in Musical Analysis
1936
44
Harmony, p. 236
236
45
Schenker, Free Composition, p. 133.
133
46
Harmony above (n. 40)
47
Wil- liam Pastille, "The Development of the Ursatz in Schenker's Published Writings," in Trends in Schenkerian Research, ed. Allen Cadwallader (New York, 1987), pp. 71-85
Pastille
The Development of the Ursatz in Schenker's Published Writings
71
Trends in Schenkerian Research
1987
Charles J. Smith, "Musical Form and Fundamental Structure: An Investigation of Schenker's Formenlehre," Music Analysis 15 (1996), 27310.2307/854065
273
49
Schenker, Free Composition, p. 14.
14
50
Ibid., p. 8.
8
51
Schenker, Der Tonwille, vol. 4 (Vienna, 1923 Hildesheim, 1990), p. 19
Schenker
19
4
Der Tonwille
1990
Free Composi- tion, vol. 2, fig. 47, 1
52
James Webster's discussion of the "double return" in "Sonata Form" in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie (London, 1980), vol. 17, pp. 497-503
53
"A motive is some- thing that gives rise to a motion .... one can compare the motive with a driving force." Schoenberg, Coherence, Counterpoint, Instrumentation, Instruction in Form, trans. and ed. Severine Neff and Charlotte M. Cross (Lincoln, Neb., 1994), p. 27
Schoenberg
27
Coherence, Counterpoint, Instrumentation, Instruction in Form
1994
Free Composi- tion, sec. 50
54
Schenker, Free Composition, p. 5.
5
55
John L. Snyder, "Schenker and the First Movement of Mozart's Sonata, K. 545: An Uninterrupted Sonata-Form Movement?" Theory and Practice 16 (1991), 66.
Snyder
66
16
Theory and Practice
1991
56
Snyder, "Schenker and Mozart's Sonata, K. 545," p. 62.
Snyder
62
Schenker and Mozart's Sonata, K. 545
57
Schenker, Der Tonwille, p. 19.
Schenker
19
Der Tonwille
58
Snyder, "Schenker and Mozart's Sonata, K. 545," pp. 64 and 61.
Snyder
64
Schenker and Mozart's Sonata, K. 545
59
Snyder, "Schenker and Mozart's Sonata, K. 545," p. 64
Snyder
64
Schenker and Mozart's Sonata, K. 545
60
David Beach, "Schubert's Experiments with Sonata Form: Formal-Tonal Design versus Underlying Structure," Mu- sic Theory Spectrum 15 (1993), 9-13.10.2307/745906
9
61
"Schubert's Experiments," p. 3
3
62
Smith, "Schenker's Formenlehre," p. 270.
Smith
270
Schenker's Formenlehre
63
Ibid., p. 264.
64
Smith writes that Snyder and Beach "both grapple fairly successfully with forms of this sort" ("Schenker's Formenlehre," p. 292, n. 114).
65
Smith, "Schenker's Formenlehre, " p. 279
Smith
279
Schenker's Formenlehre
66
Charles J. Smith, "Schenker's Formenlehre," p. 268
Smith
268
Schenker's Formenlehre
Peter H. Smith, "Brahms and Schenker: A Mutual Response to Sonata Form," Music Theory Spec- trum 16 (1994), 77-10310.2307/745831
77
67
Smith, "Schenker's Formenlehre," p. 279.
Smith
279
Schenker's Formenlehre
68
Ibid., p. 270 (Smith's italics).
270
69
"Schenker's Formenlehre," p. 272
272
Schenker's Formenlehre
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