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Schenker Studies 2

Schenker Studies 2 For twenty years it occupied Schenker’s mind and musical thought, from initial ideas to several attempts to write down the entire work in a more or less definitive form. Even the final manuscript is full of numerous changes, revisions, and significant improvements. [. . .] Sketches, thoughts quickly jotted down on thousands of little pieces of paper, as well as more or less integrated discussions, even in fair copy, are lying in the folders which were left after his death. The earliest version of the book dates from 1915. It gives us evidence that Schenker first thought of the book as a continuation of his work on counterpoint: “free composition,” section VII of the theory of counterpoint.10 Hedi Siegel’s essay, “When ‘Freier Satz’ Was Part of Kontrapunkt: A Preliminary Report,” will serve as foundation and stimulus for this project. The product of meticulous detective work, it draws on the vast amount of Der freie Satz source material in the Oster collection, including Files 6, 51, 74, and 79, as well as letters and other documents, to tell the story of the book’s origins. To begin, Siegel establishes that a complete draft of Kontrapunkt II had been completed by http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

Schenker Studies 2

Sobaskie, James William
Journal of Music Theory , Volume 45 (2) – Jan 1, 2001
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14 pages

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Publisher
Duke University Press
Copyright
Copyright 2001 by Yale University
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-45-2-470
Publisher site
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Abstract

For twenty years it occupied Schenker’s mind and musical thought, from initial ideas to several attempts to write down the entire work in a more or less definitive form. Even the final manuscript is full of numerous changes, revisions, and significant improvements. [. . .] Sketches, thoughts quickly jotted down on thousands of little pieces of paper, as well as more or less integrated discussions, even in fair copy, are lying in the folders which were left after his death. The earliest version of the book dates from 1915. It gives us evidence that Schenker first thought of the book as a continuation of his work on counterpoint: “free composition,” section VII of the theory of counterpoint.10 Hedi Siegel’s essay, “When ‘Freier Satz’ Was Part of Kontrapunkt: A Preliminary Report,” will serve as foundation and stimulus for this project. The product of meticulous detective work, it draws on the vast amount of Der freie Satz source material in the Oster collection, including Files 6, 51, 74, and 79, as well as letters and other documents, to tell the story of the book’s origins. To begin, Siegel establishes that a complete draft of Kontrapunkt II had been completed by

Journal

Journal of Music Theory – Duke University Press

Published: Jan 1, 2001

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