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Rothgeb Rothgeb (2001)
Review of Robert SnarrenbergSchenker's Interpretive Practice, Theory and Practice, 26
O. Breidbach (2003)
The Beauties and the Beautiful — Some Considerations from the Perspective of Neuronal Aesthetics
Korsyn Korsyn (1993)
Schenker's Organicism ReexaminedIntégral, 7
B. Rytting (1996)
Structure versus organicism in Schenkerian analysis
Ruth Solie (1980)
The Living Work: Organicism and Musical Analysis19th-Century Music, 4
G. Hatfield (2006)
Kant on the perception of space (and time)
I. Kant, P. Guyer, A. Wood (1998)
Critique of Pure Reason: Remark to the amphiboly of concepts of reflection
Michael Gubser (2005)
Time and History in Alois Riegl's Theory of PerceptionJournal of the History of Ideas, 66
Alpern (1999)
Music Theory as a Mode of Law: the Case of Heinrich Schenker, Esq.Cardozo Law Review, 20/vvi
William Pastille (1984)
Heinrich Schenker, Anti-Organicist19th-Century Music, 8
J. Blackmore, R. Itagaki, S. Tanaka (2001)
The University of Vienna Philosophical Society
Korsyn Korsyn (1988)
Schenker and Kantian EpistemologyTheoria, 3
J. Cat (2007)
Switching Gestalts on Gestalt Psychology: On the Relation between Science and PhilosophyPerspectives on Science, 15
Allan Keiler, Schenker (1989)
The Origins of Schenker's Thought: How Man Is MusicalJournal of Music Theory, 33
J. Kerman (1980)
How We Got into Analysis, and How to Get outCritical Inquiry, 7
D. Sweet (1993)
The Gestalt Controversy: The Development of Objects of Higher Order in Meinong's OntologyPhilosophy and Phenomenological Research, 53
L. Botstein (1992)
Listening through Reading: Musical Literacy and the Concert Audience19th-Century Music, 16
Michael Cherlin (1988)
Hauptmann and Schenker: Two Adaptations of Hegelian DialecticsTheory and Practice, 13
Kevin Karnes (2002)
Another Look at Critical Partisanship in the Viennese fin de sièècle: Schenker's Reviews of Brahms's Vocal Music, 1891-9219th-Century Music, 26
I [T]he splintering of scholarship through specialization has made polymaths seem obsolete, especially in the United States. Today Freud, Neurath, or even Wittgenstein would be patronized as unprofessional, so dazzling was their versatility. Constricted by training and by criteria for advancement, scholars who do examine these men cannot help but interpret them from a parochial point of view. ( Johnston 1972 , p. 6) Vienna, the city of Mach and Wittgenstein, Freud and Kraus, Mahler and Schoenberg, the birthplace of psychoanalysis and logical positivism, expressionism and atonality, a viper's nest of virulent anti‐Semitism, yet also the cradle of the Zionist movement, prone to bureaucratic inertia as well as restless experimentation, renowned as the glittering capital of Franz Josef's empire but also notorious for its prostitution, this city of contradictions was also the home of Heinrich Schenker and the milieu in which he developed his theory of tonal music. Indeed, ‘Back to Vienna!’ might be a good slogan for the growing number of scholars, including Wayne Alpern, Ian Bent, David Carson Berry, William Drabkin, Kevin Karnes, Allan Keiler, Joseph Lubben, William Pastille, Robert Morgan, Hedi Siegel, Robert Snarrenberg and others, who are seeking to reconstruct the intellectual, social and
Music Analysis – Wiley
Published: Mar 1, 2009
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