Reasons and means for involvement with Heinrich Schenker's proposal

Authors

DOI:

https://doi.org/10.5965/2525530406032021234

Keywords:

Heinrich Schenker, Musical motif, Musical counterpoint, Musical harmony, Musical multilevel graphic

Abstract

The expansion of the three-dimensional perception of musical works that emerges from the contact of musicians with the Schenkerian proposal is valued in this article. To this end, the authors share with the reader their experience with the teaching of this interpretative practice, in dialogue with harmonic, contrapuntal and textural processes.

Downloads

Download data is not yet available.

Author Biographies

Adriana Lopes da Cunha Moreira, Universidade de São Paulo (USP), São Paulo, SP

Adriana Lopes da Cunha Moreira é Doutora em Música (UNICAMP, 2008), pianista, professora livre-docente no Departamento de Música (CMU) da Escola de Comunicações e Artes (ECA) da Universidade de São Paulo (USP, 2004-) e professora efetiva no Programa de Pós-Graduação em Música da ECA-USP (2010-). É coordenadora da Graduação do CMU (2017-21), coordenadora do Grupo de Pesquisa TRAMA: Teoria e Análise Musical, voltado à aplicação de conceitos teóricos emergentes para a prática analítica de obras musicais (USP, CNPq, 2015-), e co-coordenadora dos Encontros Internacionais de Teoria e Analise Musical, EITAM (2009, 2011, 2013, 2017, 2019). Foi editora-chefe de publicações da ANPPOM (2011-15), que englobam a Revista OPUS (Qualis-CAPES A1), série Pesquisa em Música no Brasil e coordenação científica dos congressos anuais.

Maria Lúcia Pascoal, Universidade Estadual de Campinas (Unicamp)

Maria Lúcia Pascoal é Doutora em Música (UNICAMP), professora e pesquisadora na área de Teoria e Análise no Departamento de Música do Instituto de Artes da UNICAMP, nos cursos de Graduação e Pós-Graduação. Seu trabalho de Análise Musical desenvolve principalmente o estudo da música brasileira dos séculos XX e XXI. Colabora nas principais publicações especializadas em música no Brasil e participa de encontros e congressos nacionais e internacionais, entre os quais o Orpheus Music Theory Seminar em Ghent (Bélgica) e Seminário Internacional Jorge Peixinho “Mémoires” (Portugal). É autora de Estrutura Tonal: Harmonia (Cia. Editora Paulista). Foi editora da revista OPUS da ANPPOM e é membro fundador da Associação Brasileira de Teoria e Análise Musical TeMA, da qual é vice-presidente no biênio 2021-2023.

References

AGAWU, Kofi. Notation in Theory and Practice. Music Analysis, v. 8, n. 3, p. 275-301, 1989.

ALMADA, Carlos; BARROS, Guilherme; GERLING, Cristina Caparelli; NOGUEIRA, Ilza; SOUZA, Rodolfo Coelho de. The Reception and the Dissemination of European Theories in Brazil: Riemann, Schenker and Schoenberg. Zeitschrift der Gesellschaft für MusikTheorie, v. 15, n. 2, p. 129-154, 2018.

BAKER, James. Schenkerian Analysis and Post-Tonal Music. In: BEACH, David (Ed.). Aspects of Schenkerian Theory. New Heaven and London: Yale University Press, 1983. p. 153-186.

BEACH, David. Schenkerian Theory. Music Theory Spectrum, v. 11, n. 1, p. 3-14, 1989.

BEACH, David. (Ed.). Aspects of Schenkerian Theory. New Heaven and London: Yale University Press, 1983.

BLASIUS, Leslie. Schenker’s Argument and the Claims of Music Theory. Cambridge Studies in Music Theory and Analysis. Cambridge: Cambridge University Press, 1996.

BOSS, Jack. Schoenberg’s Op. 22 Radio Talk and Developing Variation in Atonal Music. Music Theory Spectrum, v. 14, n. 2, p. 125-49, 1992.

BURKHART, Charles. Schenker’s Motivic Parallelisms. Journal of Music Theory, v. 22, n. 2, p. 145-175, 1978.

CADWALLADER, Allen; GAGNÉ, David. Analysis of Tonal Music: A Schenkerian Approach. 3. ed. Oxford: Oxford U. Press, 2011 [1998].

CADWALLADER, Allen; GAGNÉ, David. Student Workbook to Accompany Analysis of Tonal Music: A Schenkerian Approach. 3. ed. Oxford: Oxford University Press, 2012 [2007].

COOK. Nicholas. The Schenker Project: Culture, Race, and Music Theory in Fin-de-siècle Vienna. Oxford: Oxford University Press, 2007.

COOK. Nicholas. A Guide to Musical Analysis. NY: George Braziller, 1987.

CORREIA, Renata Coutinho de Barros. Análise e Performance Musical: perspectivas de pesquisa, influências mútuas e abordagem crítica. Tese (Doutorado) – Programa de Pós-Graduação em Música, Escola de Comunicações e Rates, Universidade de São Paulo, 2021.

DODSON, Alan. JONAS, Oswald. Heinrich Schenker and Great Performers. Theory and Practice, Music Theory Society, v. 28, p. 123-135, 2003.

DRABKIN, William. Heinrich Schenker. In: CHRISTENSEN, Thomas (Ed.). The Cambridge History of Western Music Theory. Cambridge: Cambridge University Press, 2006. p. 812-843.

DUNSBY, Jonathan. Recent Schenker: The Poetic Power of Intelligent Calculation (Or, The Emperor’s Second Set of New Clothes). Music Analysis, v. 18, n. 2, p. 263-273, 1999.

FORTE, Allen. Concepts of Linearity in Schoenberg’s Atonal Music: A Study of the Opus 15 Song Cycle. Journal of Music Theory, v. 36, n. 2, p. 285-382, 1992.

FORTE, Allen. New Approaches to the Linear Analysis of Music. Journal of the American Musicological Society, v. 41, n. 2, p. 315-348, 1988.

FORTE, Allen. Heinrich Schenker as an Interpreter of Beethoven’s Piano Sonatas. 19th-Century Music, v. 8, n. 1, p. 3-28, 1984.

FORTE, Allen; GILBERT; Steven. Introduction to Schenkerian Analysis. NY: W. W. Norton, 1982.

FRAGA, Orlando. Progressão linear: uma breve introdução à teoria de Schenker. Londrina: Eduel, 2011.

GERLING, Cristina Capparelli; BARROS, Guilherme. Glossário de termos schenkerianos. Salvador: Tema, 2020.

HUFF, David. Prolongation in Post-Tonal Music: A Survey of Analytical Techniques and Theoretical Concepts with an Analysis of Alban Berg’s Op. 2, No. 4, Warm Die Lüfte. Thesis (Master of Music, Music Theory). Univ. North Texas, 2010.

KOSLOVSKY, John.Tracing the Improvisatory Impulse in Early Schenker Theory. Intégral, v. 24, p. 57-79, 2010.

MEEÙS, Nicholas. Heinrich Schenker: Une introduction. Liège, Mardaga, 1993. Traduzido por Luciane Beduschi, sob o título Análise schenkeriana. Disponível em: http://nicolas.meeus.free.fr/Cours/trad/Introducao.pdf. Acesso em: 24 abr. 2021.

MOREIRA, Adriana Lopes da Cunha. A poética nos 16 Poesilúdios para piano de Almeida Prado: análise musical. Dissertação (Mestrado). 2 v. 411 p. Campinas: Universidade Estadual de Campinas, Instituto de Artes, 2002.

NEUMEYER, David; TEPPING, Susan. A Guide to Schenkerian Analysis. Englewood Cliffs, NJ: Prentice Hall, 1992.

PELES, Stephen; DEMBSKI, Stephen; MEAD, Andrew; STRAUS, Joseph N. (Ed.). The Collected Essays of Milton Babbitt. Princeton: Princeton University Press, 2012.

RIFKIN, Deborah. A Theory of Motives for Prokofiev’s Music. Music Theory Spectrum, v. 26, n. 2, p. 265-290, 2004.

RINK, John. Schenker and Improvisation. Journal of Music Theory, v. 37, n. 1, p. 1-54, 1993.

ROTHSTEIN, William. The Americanization of Heinrich Schenker. In Theory Only, v. 9, n. 1, p. 5-17, 1986.

SALZER, Felix. Structural Hearing. New York: Dover, 1962 [1952].

BARROS, Guilherme. A Humoresque op. 20 de Schumann e a Urlinie de Schenker. Revista Música, PPGMUS-ECA-USP, v. 18, n. 1, p. 1-17, 2018.

BARROS, Guilherme; GERLING, Cristina Capparelli. Análise schenkeriana: interpretação e crítica. In: BUDASZ, Rogério (Org.). Pesquisa em música no Brasil: métodos, domínios, perspectivas. Goiânia: ANPPOM, 2009. p. 87-121.

BARROS, Guilherme; GERLING, Cristina Capparelli. Análise schenkeriana e performance. Opus, Goiânia, v. 13, n. 2, p. 141-160, dez. 2007.

SCHENKER, Heinrich. Der Tonwille: Pamphlets/Quartely Publication in Witness of the Immutable Laws of Music, Offered to a New Generation of Youth. v.1. NY: Oxford University Press, 2004 [1921-1923].

SCHENKER, Heinrich. Five graphic music analysis. NY: Dover, 1969.

SCHMALFELDT, Janet. In the Process of Becoming: Analytic and Philosophical Perspectives on Form in Early Nineteenth-Century Music. Oxford Studies in Music Theory. Oxford: Oxford University Press, 2011.

SCHOENBERG, Arnold. Fundamentos da composição musical. 3ed. SP: Edusp, 2015 [1967].

SNARRENBERG, Robert. Schenker’s Interpretative Practice. Cambridge: Cambridge University Press, 1997.

STRAUS, Joseph. Composing out in atonal music. Orpheus Institute, Ghent, Belgium: International Easter Academy of Music Theory, April, 2003.

STRAUS, Joseph. The Problem of Prolongation in Post-Tonal Music. Journal of Music Theory, v. 31 n. 1, p. 1-21, 1987.

STRAUS, Joseph. Introduction to post tonal theory. 4. ed. NY: W. W. Norton, 2016.

TEMPERLEY, David. Composition, Perception, and schenkerian Theory. Music Theory Spectrum, v. 33, n. 2, p. 146-168, 2011.

Downloads

Published

2021-10-14

How to Cite

MOREIRA, Adriana Lopes da Cunha; PASCOAL, Maria Lúcia. Reasons and means for involvement with Heinrich Schenker’s proposal. Orfeu, Florianópolis, v. 6, n. 3, 2021. DOI: 10.5965/2525530406032021234. Disponível em: https://periodicos.udesc.br/index.php/orfeu/article/view/20081. Acesso em: 22 nov. 2024.

Issue

Vol. 6 No. 3 (2021): Special Issue on Schenkerian Analysis

Section

Special Issue

License

Copyright (c) 2021 Adriana Lopes Moreira, Maria Lúcia Pascoal

Creative Commons License

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.