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The Development of S chenker's Concept of Interruption

The Development of S chenker's Concept of Interruption This article draws on the rich resources of Heinrich Schenker's Nachlass in the Ernst Oster Collection (New York Public Library) to construct the development of interruption (Unterbrechung), a vital aspect of Schenker's mature understanding of musical form. In §90 of Der freie Satz (1935) Schenker makes a crucial distinction between the structural weight of the two configurations in an interrupted Ursatz, and gives priority to the first one: the effect of interruption depends on the sense that this will be succeeded by , rather than by the return to that is actually forthcoming. Subsequently, in §93, Schenker claims that the reasserted connects back to its first appearance, prior to the first arrival of . The article explores the tension between these two claims in relation to and Ursätze and reconstructs preliminary versions of the text relating to interruption in Der freie Satz. It concludes by suggesting that Schenker's shifting notation of interrupted structures reflects a continuing uneasiness with his own definition of interruption as a theoretical concept. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

The Development of S chenker's Concept of Interruption

Music Analysis , Volume 32 (3) – Oct 1, 2013

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Publisher
Wiley
Copyright
Music Analysis © 2013 John Wiley & Sons Ltd
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/musa.12017
Publisher site
See Article on Publisher Site

Abstract

This article draws on the rich resources of Heinrich Schenker's Nachlass in the Ernst Oster Collection (New York Public Library) to construct the development of interruption (Unterbrechung), a vital aspect of Schenker's mature understanding of musical form. In §90 of Der freie Satz (1935) Schenker makes a crucial distinction between the structural weight of the two configurations in an interrupted Ursatz, and gives priority to the first one: the effect of interruption depends on the sense that this will be succeeded by , rather than by the return to that is actually forthcoming. Subsequently, in §93, Schenker claims that the reasserted connects back to its first appearance, prior to the first arrival of . The article explores the tension between these two claims in relation to and Ursätze and reconstructs preliminary versions of the text relating to interruption in Der freie Satz. It concludes by suggesting that Schenker's shifting notation of interrupted structures reflects a continuing uneasiness with his own definition of interruption as a theoretical concept.

Journal

Music AnalysisWiley

Published: Oct 1, 2013

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