The transformations of organicism and the concept of motif in Schenkerian Theory
DOI:
https://doi.org/10.5965/2525530406032021149Keywords:
Schenkerian Analysis, Musical Theory, Philosophy of music, EpistemologyAbstract
This article elaborates a view about Schenkerian’s Theory trajectory: from its thoughts about language and musical genealogy in the 1985’s article, Der Geist der Musikalischen Technik, until the final expression of the analytical methodology in 1935, on Der Freie Satz. It reunites the issues that motivated the development of that theory, with special focus to the concept of motif’s and the organicist metaphor’s transformations. It observes how these two aspects are developed conjunctly throughout 40 years of theoretical publications, showing the intimate connection between technical and theoretical aspects. The resolution of problems such as the musical causality and the association of ideas is investigated within those aspects, promoting philosophical and epistemological thoughts about the development of Schenker’s complex musicology. Exposing this trajectory, the article finds many key-issues that comprehend and anticipates the posterior development of what we call today as Schenkerian Analysis.
Downloads
References
AGAWU, Kofi. Schenkerian Notation in Theory and Practice. Music Analysis, v. 8, n. 3, p. 275-301, 1989.
BOUCQUET, Kristof. Schenker and Schoenberg revisited. Revue Belge de Musicologie, v. 59, p. 193-203, 2005.
COHN, Richard. Schenker’s Theory, Schenkerian Theory: Pure Unity or Constructive Conflict? Indiana Theory Review, n. 13, v. 1, p. 1-19, 1992.
COHN, Richard; DEMPSTER, Douglas. Hierarchical Unity, Plural Unities. In: BERGERON,
Katherine; BOHLMAN, Philip V. (ed.). Disciplining Music. Chicago: Chicago University Press, 1992. p. 156-181.
COOK, Nicolas. The Schenker project: Culture, Race, and Music Theory in Fin-de-siècle Vienna. Oxford: Oxford university press, 2007.
FINK, Robert. Going flat: Post-Hierarchical Music Theory and the Musical Surface. In: Rethinking Music. Ed. COOK, Nicholas and EVERIST, Mark, Oxford: Oxford University Press, 2001.
FLESHNER, Nathan. The Musical Psyche: Interactions Between the Theories of Heinrich Schenker and Sigmund Freud. Tese (Doutorado em Música) – Department of Music Theory, Eastman School of Music, University of Rochester, Rochester, 2012.
FORTE, Allen. Schenker’s conception of music structure. Journal of Music Theory, v. 3, n. 1, p. 1-30. 1959
FORTES, Rafael. A estrutura orgânica da música na teoria schenkeriana. Tese (Doutorado em Música). Programa de Pós-Graduação em Música, Centro de Letras e Artes, Universidade Federal do Estado do Rio de Janeiro, Rio de Janeiro, 2020a.
FORTES, Rafael. Estratégias de expansão da Teoria Schenkeriana a partir da música de Igor Stravinsky. Debates Unirio, n. 24, p.74-118, out. 2020b.
KORSYN, Kevin. Schenker’s organicism reexamined. Intégral, v. 7, p. 82-118, 1993.
MORGAN, Robert. Music theory, analysis and society: selected essays. London; New York: Routledge, 2016.
PASTILLE, William. Heinrich Schenker: anti-organicist. 19th-Century Music, v. 8, n. 1, p. 29- 36, 1984.
PASTILLE, William. Schenker’s value judgments. Journal of the Society of Music Theory, v. 1, n. 6, 1995.
PASTILLE, William; CADWALLADER, Allan. Schenker’s High-level motives. Journal of Music Theory, v. 36, n. 1, p. 119-148, 1992.
ROTHSTEIN, William. The Americanization of Heinrich Schenker. In: Schenker Studies. Ed. Hedi Siegel, New York: Cambridge Univ. Press, p. 193-203, 1990.
SCHENKER, Heinrich. Harmony. Chicago: Chicago university Press, 1968 [1906].
SCHENKER, Heinrich. Five Graphic Music Analysis. New York: Dover, 1969 [1932].
SCHENKER, Heinrich. Free composition. New York: Schimmer Books, 1979 [1935].
SCHENKER, Heinrich. The spirit of musical technique [Der Geist der Musikalischen Technik, 1895]. Trad. William Pastille. In: Heinrich Schenker: anti-organicist. 19th-Century Music, v. 8, n 1, p. 29-36, 1984 [1895].
SCHENKER, Heinrich. Counterpoint: a Translation of Kontrapunkt. New York: Schimmer Books, 1987a [1910]. v. 1.
SCHENKER, Heinrich. Counterpoint: a Translation of Kontrapunkt. New York: Schimmer Books, 1987b [1922]. v. 2.
SCHENKER, Heinrich. Der Tonwille: pamphlets in witness of the immutable laws of music. Oxford: Oxford University Press, 2004 [1921-1923]. v. 1, issues 1-5.
SCHENKER, Heinrich. Der Tonwille: pamphlets in witness of the immutable laws of music. Oxford: Oxford University Press, 2005 [1923-1924]. v. 2, issues 6-10.
SCHENKER, Heinrich. The decline of the art of the composition: a Technical-Critical Study. Music Analysis, v. 24, n. 1/2, p. 33-129, 2005 [1905].
SCHENKER, Heinrich. The spirit of musical technique [Der Geist der Musikalischen Technik, 1895]. Trad. William Pastille. In: COOK, Nicolas. The Schenker project: Culture, Race, and Music Theory in Fin-de-siècle Vienna. Oxford: Oxford university press, 2007 [1895]. p. 319-332.
SCHENKER, Heinrich. The Masterwork in Music. Ed. William Drabkin. New York: Dover, 2014a [1925]. v. 1.
SCHENKER, Heinrich. The Masterwork in Music. Ed. William Drabkin. New York: Dover, 2014b [1926]. v. 2.
SCHENKER, Heinrich. The Masterwork in Music. Ed. William Drabkin. New York: Dover, 014c [1930]. v. 3.
SCHENKER, Heinrich. Piano sonata in A major, op. 101: Beethoven’s last piano sonatas, an edition with elucidation, volume 4. Trad. John Rothgeb. Oxford: Oxford University Press, 2015 [1921].
SOLIE, Ruth. The Living Work: Organicism and Musical Analysis. 19th-Century Music, n. 4, v. 2, p. 147-156, 1980.
WATKINS, Holly. Metaphors of Depth in German Musical Thought (from E.T.A. Hoffman to Arnold Schoenberg). Cambridge: The Cambridge University Press, 2011.
WATKINS, Holly. Toward a post-humanist organicism. Nineteenth-Century Music Review, 14, p. 93-114, 2017.
WATKINS, Holly. Musical vitalities: ventures in a biotic aesthetics of music. Chicago: The University of Chicago Press, 2018.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2021 Rafael Fortes
This work is licensed under a Creative Commons Attribution 4.0 International License.
Authors who submit their manuscripts to be published in this journal agree to the following terms:
1. Authors retain the copyright and grant to the journal the right of first publication, whilst simultaneously permitting their work to be licensed under the Creative Commons License Attribution, which allows the sharing of work with recognition of the authorship and initial publication in this journal.
2. Contributions in this journal are open access; this means they are based in free use, and non-commercial applications.
