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Recent Schenker: The Poetic Power of Intelligent Calculation (Or, The Emperor’s Second Set of New Clothes)

Recent Schenker: The Poetic Power of Intelligent Calculation (Or, The Emperor’s Second Set of New... While a ‘picture’ of the Kantian system is common to all who have commented on it, there is no agreement whatsoever as to the strength, or even as to the content, of his arguments. A commentator who presents clear premises and clear conclusions will invariably be accused of missing Kant’s argument, and the only way to escape academic censure is to fall into the verbal mannerisms of the original (Scruton 1982, p. 11; my emphasis). It is indeed Kant from whom the ever-confident Schenker plucks the very opening epithet of The Masterwork in Music: ‘The danger here lies not in being disproved, but rather in not being understood’ (Schenker 1994, p. 1). If what I am grateful to Craig Ayrey of Goldsmiths’ College, London, for his advice on this work, and also to Robert Pascall of the University of North Wales, Bangor for inviting me to address these issues initially at a Society for Music Analysis Study Day in March 1998, held at King’s College London. Music Analysis, 18/ii (1999) © Blackwell Publishers Ltd. 1999. Published by Blackwell Publishers, 108 Cowley Road, Oxford OX4 1JF, UK JONATHAN DUNSBY Schenker was setting out to tell the post-First World War http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

Recent Schenker: The Poetic Power of Intelligent Calculation (Or, The Emperor’s Second Set of New Clothes)

Music Analysis , Volume 18 (2) – Jul 1, 1999

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Publisher
Wiley
Copyright
Blackwell Publishers Ltd 1999
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/1468-2249.00093
Publisher site
See Article on Publisher Site

Abstract

While a ‘picture’ of the Kantian system is common to all who have commented on it, there is no agreement whatsoever as to the strength, or even as to the content, of his arguments. A commentator who presents clear premises and clear conclusions will invariably be accused of missing Kant’s argument, and the only way to escape academic censure is to fall into the verbal mannerisms of the original (Scruton 1982, p. 11; my emphasis). It is indeed Kant from whom the ever-confident Schenker plucks the very opening epithet of The Masterwork in Music: ‘The danger here lies not in being disproved, but rather in not being understood’ (Schenker 1994, p. 1). If what I am grateful to Craig Ayrey of Goldsmiths’ College, London, for his advice on this work, and also to Robert Pascall of the University of North Wales, Bangor for inviting me to address these issues initially at a Society for Music Analysis Study Day in March 1998, held at King’s College London. Music Analysis, 18/ii (1999) © Blackwell Publishers Ltd. 1999. Published by Blackwell Publishers, 108 Cowley Road, Oxford OX4 1JF, UK JONATHAN DUNSBY Schenker was setting out to tell the post-First World War

Journal

Music AnalysisWiley

Published: Jul 1, 1999

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