Robert P. Morgan, Becoming Heinrich Schenker: Music Theory and Ideology (Cambridge: Cambridge University Press, 2014), xx + 275 pp. ISBN 978‐1‐107‐06769‐1. £67 (hb.).Heinrich Schenker, Beethoven's Last Piano Sonatas: an Edition with Elucidation, translated, edited and annotated by John Rothgeb, 4 vols (Oxford and New York: Oxford University Press, 2015). Op. 109: xi + 89 pp. ISBN 978‐0‐19‐991420‐3. £32.99 (hb.). Op. 110: xiii + 158 pp. ISBN 978‐0‐19‐991422‐7. £41.99 (hb). Op. 111: xiii + 152 pp. ISBN 978‐0‐19‐991424‐1. £41.99 (hb.). Op. 101: xiii + 152 pp. ISBN 978‐0‐19‐991426‐5. £41.99 (hb.).Robert P. Morgan, Music Theory, Analysis, and Society: Selected Essays (Farnham: Ashgate, 2015), xx + 352 pp. ISBN 978‐1‐472‐46254‐1. £130 (hb.).
Robert P. Morgan, Becoming Heinrich Schenker: Music Theory and Ideology (Cambridge: Cambridge...
Drabkin, William
2017-07-01 00:00:00
The works of Heinrich Schenker have been exerting an influence upon us for a long time. A century after his ideas began coalescing into a theory of tonality and musical coherence, they show no signs of relinquishing their grip on the world of education and scholarship. We have a journal devoted exclusively to Schenkerian studies; and there are so many books, book chapters and articles concerning the theorist and employing his methods of analysis that Schenker bibliography has become an industry of its own. The opening of archives housing Schenker's correspondence, diaries and private papers has further expanded the growth of research into the man and his mission.How did Schenkerian theory come about? In particular, how did it develop in Schenker's lifetime? Why does Schenker, of all the giants of music theory, continue to attract so much attention? And is he all that good? Does his theory have shortcomings, and, if so, can they be amended by subsequent theorising? Or must they forever blemish contributions he made to our understanding of how music goes? These are the questions that the distinguished music theorist and theory historian Robert P. Morgan addresses in his most recent book.Becoming Heinrich Schenker is framed
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Robert P. Morgan, Becoming Heinrich Schenker: Music Theory and Ideology (Cambridge: Cambridge University Press, 2014), xx + 275 pp. ISBN 978‐1‐107‐06769‐1. £67 (hb.).Heinrich Schenker, Beethoven's Last Piano Sonatas: an Edition with Elucidation, translated, edited and annotated by John Rothgeb, 4 vols (Oxford and New York: Oxford University Press, 2015). Op. 109: xi + 89 pp. ISBN 978‐0‐19‐991420‐3. £32.99 (hb.). Op. 110: xiii + 158 pp. ISBN 978‐0‐19‐991422‐7. £41.99 (hb). Op. 111: xiii + 152 pp. ISBN 978‐0‐19‐991424‐1. £41.99 (hb.). Op. 101: xiii + 152 pp. ISBN 978‐0‐19‐991426‐5. £41.99 (hb.).Robert P. Morgan, Music Theory, Analysis, and Society: Selected Essays (Farnham: Ashgate, 2015), xx + 352 pp. ISBN 978‐1‐472‐46254‐1. £130 (hb.).
The works of Heinrich Schenker have been exerting an influence upon us for a long time. A century after his ideas began coalescing into a theory of tonality and musical coherence, they show no signs of relinquishing their grip on the world of education and scholarship. We have a journal devoted exclusively to Schenkerian studies; and there are so many books, book chapters and articles concerning the theorist and employing his methods of analysis that Schenker bibliography has become an industry of its own. The opening of archives housing Schenker's correspondence, diaries and private papers has further expanded the growth of research into the man and his mission.How did Schenkerian theory come about? In particular, how did it develop in Schenker's lifetime? Why does Schenker, of all the giants of music theory, continue to attract so much attention? And is he all that good? Does his theory have shortcomings, and, if so, can they be amended by subsequent theorising? Or must they forever blemish contributions he made to our understanding of how music goes? These are the questions that the distinguished music theorist and theory historian Robert P. Morgan addresses in his most recent book.Becoming Heinrich Schenker is framed
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