Akkord und Stimmfuhrung in den musiktheoretischen Systemen von Hugo Riemann, Ernst Kurth, und Heinrich Schenker

Notes ◽  
1982 ◽  
Vol 38 (4) ◽  
pp. 843
Author(s):  
Channan Willner ◽  
Hellmut Federhofer
Keyword(s):  
Heinrich Schenker ◽  
Hugo Riemann

Hypermetrical Irregularities in Expanded Phrases

2021 ◽  
pp. 173-213
Author(s):  
Danuta Mirka
Keyword(s):  
Eighteenth Century ◽  
Heinrich Schenker ◽  
Hugo Riemann ◽  
Further Development

This chapter deals with hypermetrical irregularities in phrases expanded by means of parenthesis, repetition, and appendix. All these means of phrase expansion were recognized by eighteenth-century authors. The discussion of parenthesis reveals an uncharacteristically careless treatment of this concept by Heinrich Christoph Koch. It outlines its further development by Hugo Riemann and Heinrich Schenker and deconstructs the concept of parenthesis developed by William Rothstein (1989), thus restoring it to eighteenth-century perspective. The discussion of repetition engages with Rothstein’s discussion of this technique of phrase expansion and its effect upon hypermeter. The discussion of appendix compares Koch’s account of this concept to Rothstein’s concept of “suffix.”

scholarly journals O modo de dizer da teoria musical: uma reflexão sobre a terminologia de Schenker

Orfeu ◽  
2021 ◽  
Vol 6 (3) ◽  
Author(s):  
Ivan Gonçalves Nabuco ◽  
Sérgio Paulo Ribeiro de Freitas
Keyword(s):  
Heinrich Schenker

Coloca-se em discussão a tradução para a língua portuguesa de alguns termos da teoria musical de Heinrich Schenker. Detendo-se, principalmente, sobre os termos Urlinie e Ursatz, procura-se realizar um debate a respeito do significado de tais conceitos, significado que aparece como a manifestação estritamente musical do princípio da unidade da obra de arte. Tal princípio assume um papel emblemático na teoria se Schenker por meio do concito de coerência orgânica e, portanto, do conceito de organismo. A argumentação se concentra sobre os múltiplos significados da palavra Satz, destacando seus usos no vocabulário musical e, principalmente, nos escritos de Schenker, mais especificamente, como elemento formador do termo Ursatz. A discussão oportuniza uma reflexão a respeito de termos propostos por Schenker e de suas implicações e alcances quando vertidos para outras línguas, épocas e lugares.

scholarly journals The Art of Modulating, Preludizing, and Fantasizing: Schenker’s Thoughts about Keys and Key Change Reconsidered

Orfeu ◽  
2021 ◽  
Vol 6 (3) ◽  
Author(s):  
John Koslovsky ◽  
Matthew Brown
Keyword(s):  
Heinrich Schenker

Although Heinrich Schenker certainly changed his mind about many topics, he never waivered in his belief that 1) current ways to explain modulation were fundamentally flawed; and 2) that modulation is best learned by improvising preludes and fantasies. To explain these points, Part I reconsiders Schenker’s critique of Max Reger’s Beiträge zur Modulationslehre (1903) and Salomon Jadassohn’s Die Kunst zu Modulieren und zu Präludieren (1890) and describes three types of modulation endorsed by Schenker in his Harmonielehre (1906): 1) [diatonic] reinterpretation; 2) chromaticism; and 3) enharmonicism. Part II then shows how Schenker not only dispensed with the traditional concepts of relative, close, and distant keys, but he eventually proposed that modulations arise at the foreground for contrapuntal, even motivic reasons. Finally, Part III uses Schenker’s claims about modulating and preludizing to analyze Beethoven’s “Two Preludes” in C major, Op. 39, both of which modulate “through all twelve major keys.”

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