Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

Franz Schubert, Ihr Bild (1828): A Response to Shenker's Essay in Der Tonwille , Vol. 1

Franz Schubert, Ihr Bild (1828): A Response to Shenker's Essay in Der Tonwille , Vol. 1 My response to Heinrich Schenker’s inspiring account of Ihr Bild takes the form of a free-standing analytical essay rather than a point-by-point gloss.* Much has happened in the 75 or so years since the publication of Der Tonwille, and I have attempted to encapsulate a few developments here. One or two of these are Schenker’s own, and reflect his evolution through Das Meisterwerk in der Musik to Der freie Satz and the late graphic analyses. Inevitably I explore the principle of transference across levels – from foreground into deep middleground – of configurations which he rightly hesitates to call motives (such as the first pair of Bbs in the piano). I have also replaced the background line of (his) Fig. 9 with my own, as indeed he might later have replaced it with a classical Ursatz. Nevertheless, in his Tonwille background, there is a powerful perception of parallels in the descending fourth progressions in each verse – Bb to F – which Schenker would surely have retained in any later reading. Schenker’s text gives the lie to any charge that he invariably separated questions of structure and design from those of affect or aesthetic response. This separation was http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

Franz Schubert, Ihr Bild (1828): A Response to Shenker's Essay in Der Tonwille , Vol. 1

Music Analysis , Volume 19 (1) – Mar 1, 2000

Loading next page...
 
/lp/wiley/franz-schubert-ihr-bild-1828-a-response-to-shenker-s-essay-in-der-UPxZjXPngj
Publisher
Wiley
Copyright
Copyright © 2000 Wiley Subscription Services, Inc., A Wiley Company
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/1468-2249.00107
Publisher site
See Article on Publisher Site

Abstract

My response to Heinrich Schenker’s inspiring account of Ihr Bild takes the form of a free-standing analytical essay rather than a point-by-point gloss.* Much has happened in the 75 or so years since the publication of Der Tonwille, and I have attempted to encapsulate a few developments here. One or two of these are Schenker’s own, and reflect his evolution through Das Meisterwerk in der Musik to Der freie Satz and the late graphic analyses. Inevitably I explore the principle of transference across levels – from foreground into deep middleground – of configurations which he rightly hesitates to call motives (such as the first pair of Bbs in the piano). I have also replaced the background line of (his) Fig. 9 with my own, as indeed he might later have replaced it with a classical Ursatz. Nevertheless, in his Tonwille background, there is a powerful perception of parallels in the descending fourth progressions in each verse – Bb to F – which Schenker would surely have retained in any later reading. Schenker’s text gives the lie to any charge that he invariably separated questions of structure and design from those of affect or aesthetic response. This separation was

Journal

Music AnalysisWiley

Published: Mar 1, 2000

There are no references for this article.