A guide to Schenkerian analysis / David Neumeyer, Susan Tepping.

Author/creator Neumeyer, David
Other author Tepping, Susan, 1948- author.
Format Book
Publication InfoEnglewood Cliffs, N.J. : Prentice Hall, ©1992.
Descriptionviii, 151 pages : music ; 21 x 28 cm
Subjects
Schenkerian analysis.

Contents Preface -- Introduction -- Part I: analyzed bass notation. Summary of analyzed bass notation. Tonic and dominant patterns ; Expansion of I-V-I through use of pre-dominant harmony ; Expansion of I-V-I through arpeggiation ; Expansion of the harmonic cycle through inversions ; Expansion using vi or VI ; Filling-in of harmonic intervals in functional patterns ; Expansion using sequential patterns, including circle of fifths ; Implied notes ; The subdominant ; The "deceptive cadence" ; The minor key ; Unfolding: a special symbol ; Chordal reduction ; Metaphors for the structural levels -- Four analysis narratives. Beethoven, Symphony no. 2, III ; Brahms, Intermezzo in A minor, op. 76, no. 7 ; Debussy, Prelude to "The Afternoon of a Faun" ; Debussy, Prelude to "The Engulfed Cathedral" -- Structural bass patterns and formal design. Simple binary form (tonic) ; Simple binary form (non-tonic) ; Ternary form ("simple rondo") ; Binary/ternary form ; Rounded binary form -- Part II: complete analyses. Preliminary: informal introduction to upper-voice analysis -- Three analysis narratives. J.S.Bach, Setting of the chorale "Du Friedensfürst, Herr Jesu Christ" ; J.S.Bach, Well-Tempered Clavier, Vol. 1, Prelude in C major ; J.S.Bach, Invention in G major ; Priorities for analysis of the upper parts -- Middleground and foreground techniques. Initial ascent (Anstieg) and rising levels in later levels ; Neighbor tones to tones of the fundamental line ; Mixture (Mischung) ; Chromaticism at later levels ; Lines (Zug; plural Züge) ; Interruption (Unterbrechung) ; Register transfer ; Arpeggiation ; Boundary play (Ränderspiel) and cover tone (Deckton) ; Voice exchange (Stimmtausch) ; Unfolding (Ausfaltung) -- Essay on Chopin, Prelude in Ab major, op. 28, no. 17 -- Fundamental structures and formal design. Schenker's theory of form ; Fundamental structures and binary and ternary forms ; Sonata form -- Analysis of music before Bach and after Brahms. Music before Bach ; Music after Brahms.
Abstract This step-by-step introduction to interpreting bass lines, upper parts, and whole compositions uses the new multi-level hierarchy to show readers the interaction of structure and motion in music. The authors present scores of models for notation and offer a host of exercises which are keyed to chapters or sections of chapters. In addition, lists of optional exercises keyed to commonly used anthologies are also supplied. Content highlights: presents bass-line sketches to allow a smooth transition into Schenkerian analysis; details the link between Schenkerian analysis and traditional methods of analysis of form in music; Uses a generative (top-down) approach to Schenkerian analysis rather than a reductive approach to more clearly illustrate Schenker's original intentions for the method; devotes an entire section to the special topic of nontraditional tonal music before Bach and after Brahms; and offers an encapsulated overview of the principal concepts of Schenker's method to facilitate recall.
Bibliography noteIncludes bibliographical references (pages 143-146) and index.
LCCN 91022203
ISBN0134972155

Availability

Library Location Call Number Status Item Actions
Music Music Stacks MT6.N248 G8 1992 ✔ Available Place Hold