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schenkerian-analysis

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Journal Articles
19th-Century Music (2009) 33 (2): 173–192.
Published: 01 November 2009
...-Francolí, Harmony in Con- text (New York: McGraw-Hill, 2003), pp. 831 34; Charles Burkhart, Anthology for Musical Analysis (5th edn. Fort Worth: Harcourt Brace College, 1994), pp. 394 96; Stefan Kostka and Dorothy Payne, Tonal Harmony with an In- troduction to Twentieth-Century Music (5th edn. Boston...
Journal Articles
19th-Century Music (2015) 39 (1): 3–34.
Published: 01 July 2015
... opéra comique more serious than it might appear to be. Drawing on theories of the human subject by Badiou, Žižek, and Lacan, as well as on the resources of Schenkerian theory, this article invites a new attention on the ideological violence done both by conventional models of love (in this case, on the...
Journal Articles
19th-Century Music (2012) 35 (3): 182–203.
Published: 01 March 2012
... expanded consequent as hypermetrically equivalent to the antecedent. His Schenkerian approach to the voice-leading of this prelude cogently identifies elements of coherence and deep reso- nance between a tightly structured antecedent and a greatly expanded, almost improvisatory consequent, and his rhyth...
Journal Articles
19th-Century Music (2009) 33 (2): 193.
Published: 01 November 2009
... topic are welcome at any time. Contributors Karen M. Bottge is an assistant professor in the School of Music at the University of Kentucky. Her research and teaching interests focus on historical music theories and pedagogies, Schenkerian analysis, hermeneutics, and the history of ideas. Her interests...
Journal Articles
19th-Century Music (2009) 32 (3): 211–234.
Published: 01 March 2009
... the Regents of the University of California 2009 interlace narrative neo-Riemannian analysis Schenkerian analysis self and consciousness 211 J.P.E. HARPER- SCOTT Medieval Romance in the Ring 19th-Century Music, vol. 32, no. 3, pp. 211 34. ISSN: 0148-2076, electronic ISSN 1533-8606. © 2009...
Journal Articles
19th-Century Music (2008) 32 (2): 178–208.
Published: 01 November 2008
... A4 from below, just as the B 4 converges on it from above. Beyond the informal linear reading of ex. 3, I will present no large- scale linear or quasi-Schenkerian account of the piece. Marion Guck offers a Schenkerian reading in her article One Path Through Debussy s . . . Des pas sur la neige In...
Journal Articles
19th-Century Music (2008) 32 (2): 131–159.
Published: 01 November 2008
... the cadence of the second period (m. 36) the three-note ascent ^1 ^2 ^3 is heard once again. Throughout the opening pages of the Octet, clear cadential endings are continually undercut by the predilection for ending phrases on degree ^3 in the upper voice. In Schenkerian terms, the middleground of the...
Journal Articles
19th-Century Music (2008) 31 (3): 179–192.
Published: 01 March 2008
... the music seeks to convey. When music is examined in a surgical way, with the sterile instruments of Roman numeral and Schenkerian analysis and hypermeter grids in order to produce ostensibly objective analy- ses based on the music itself, the effect is to scrub the music clean of septic...
Journal Articles
19th-Century Music (2008) 32 (1): 52–93.
Published: 01 July 2008
Journal Articles
19th-Century Music (2007) 30 (3): 257–287.
Published: 01 March 2007
... discussions of both Yih and Parks, for all that they take disparate views on the appropriateness of Schenkerian analysis to this piece. (Parks is happy to wrench the movement, with all its uncon- ventional prolongations, into a Schenkerian frame; Yih includes a Schenker graph to show how inadequate it is to...
Journal Articles
19th-Century Music (2006) 30 (2): 133–165.
Published: 01 November 2006
... analyzes the way tonal continuities are given distinct shapes in a manner analogous to the shaping of cur- sive handwriting and mid-nineteenth-century stenography. I hope, then, to broaden the horizons of mu- sical analysis while drawing attention to facets of nineteenth-century modern or Romantic melody...
Journal Articles
19th-Century Music (2006) 30 (1): 065–080.
Published: 01 July 2006
... prolongational hierarchy determined by a single tonic (which was the main premise of Komar s Schenkerian analysis). As a result, Schumann transforms tonal space into event space, where discrete events are connected in real and directed time, as in performance.27 This actual sequence of 72 19TH CENTURY MUSIC...
Journal Articles
19th-Century Music (2006) 30 (2): 097–132.
Published: 01 November 2006
... mixture of masculine and feminine signs. I endorse Pederson s femi- nist analysis of the posthumous discourse of Beethoven Hero as an opportunistic celebra- tion of Beethoven s music and character as ex- clusively and normatively masculine: The German tradition that valorizes Beethoven s narrative of...
Journal Articles
19th-Century Music (2005) 29 (2): 121–141.
Published: 01 November 2005
... unity may lie hid- den.1 One object of Meyer s disaffection with Oneness, perhaps not the only but surely one of the foremost, is the Schenkerian notion of the all-embracing background, the Ursatz, as the ultimate source of unity.2 Eugene Narmour, inspired by Meyer, had argued a decade earlier for music...
Journal Articles
19th-Century Music (2005) 29 (1): 049–055.
Published: 01 July 2005
... that it contains no analysis of the conventional kind no Schenkerian graphs, paradigmatic charts, annotated scores, interval counts, or circled sets. Although Adorno has things to say about individual com- positions, he never embarks on a blow-by-blow account of any passage. Nor is he bound by the...
Journal Articles
19th-Century Music (2005) 29 (1): 042–048.
Published: 01 July 2005
... Schenkerian orthodoxy that it can be seen to embody; to the implicit and almost covert, as in Adorno s comments on the popu- lar element in Schubert, which I think would require even more than a factor of ten to multi- ply into demonstrations. Yet let us remember that Adorno is confident, even optimistic...
Journal Articles
19th-Century Music (2005) 28 (3): 296–297.
Published: 01 March 2005
... the value of literature, he became fascinated by the role of music in this process; Ashgate will shortly be publishing his book Music Writing Literature, from Sand via Debussy to Derrida. J. P. E. Harper-Scott has research interests in Elgar, Walton, Schenkerian theory, the philoso- phy of Heidegger...
Journal Articles
19th-Century Music (2005) 28 (3): 230–253.
Published: 01 March 2005
... the Human, p. 737. It is unfortunate that Bloom has chosen a word foreground so close to a familiar Schenkerian term, yet I see no way around the potential confusion of using it, other than to dress Bloom s 236 19TH CENTURY MUSIC This foregrounding is necessary because Shakespeare s literary art...
Journal Articles
19th-Century Music (2005) 28 (3): 254–275.
Published: 01 March 2005
... grounds, but also because Elgar had commented that the melody line of the first subject gives a feeling of A minor (letter to Ernest Newman, 23 Nov. 1908, quoted on p. 50). Meikle s case has recently been consolidated in a Schenkerian reading of the work by J. P. E. Harper-Scott, who argues that F major...
Journal Articles
19th-Century Music (2004) 28 (1): 15–49.
Published: 01 July 2004
... analysis does not attempt to specify symbolic meaning to quite such a degree and that Jackson argues for these references at deep levels of structure (em- ploying Schenkerian apparatus to reveal it). This latter aspect to his argument is both his most intriguing and, unfortunately, controversial point. For...