Description
Book SynopsisDisplays the range and diversity of Schenkerian studies today in fifteen essays covering music from Bach through Debussy and Strauss. Explorations in Schenkerian Analysis is a collection of fifteen essays dedicated to the memory of Edward Laufer, an influential advocate of Schenker's method. The chapters are presented in chronological order by composer, opening with Charles Burkhart's contribution, which is presented as a letter to Edward Laufer (written before his death), and ending with excerpts from Stephen Slottow's 2003 interview with Laufer (in an appendix). Whilethe unifying focus is Schenkerian analysis, there is considerable variety in the approaches taken by the contributors. There is also variety in the composers represented, ranging from Bach to Debussy and Strauss. The volume thusdisplays the scope and diversity of Schenkerian studies today. CONTRIBUTORS: Mark Anson-Cartwright, David Beach, Matthew Brown, Charles Burkhart, L. Poundie Burstein, Timothy L. Jackson, Roger Kamien, Leslie Kinton, SuYin Mak, Ryan McClelland, Don McLean, Boyd Pomeroy, William Rothstein, Frank Samarotto, Stephen Slottow, Lauri Suurpää David Beach is professor emeritus and former dean of the Faculty of Music, University of Toronto. SuYin Mak is associate professor of music at the Chinese University of Hong Kong.
Trade Review[E]xpands the literature on Schenker studies in important and fascinating ways. It belongs on the bookshelf of any Schenkerian but would also be a wonderful resource for intermediate and advanced classes in Schenkerian analysis. * NOTES: JOURNAL OF THE MUSIC LIBRARY ASSOCIATION *
The analyses in the book are of a high quality [and treat] form and structure, the role of motif (a trademark of Laufer), and the relationship between voice-leading structure and musical meaning. Just as aspects of form and design can influence voice-leading structures, Schenkerian studies such as these have much to contribute to form studies. A welcome contribution to the Schenkerian analytical corpus. * MUSIC & LETTERS *
Table of ContentsPreface A Letter about the C-Major Fugue from The Well-Tempered Clavier, Book 1 - Charles Burkhart The Opening Tonal Complex of Bach's St. Matthew Passion: A Linear View - Mark Anson-Cartwright Recurrence and Fantasy in C. P. E. Bach's Rondo in G Major - Frank Samarotto Voice-Leading Procedures in Galant Expositions - L. Poundie Burstein The First Movements of Anton Eberl's Symphonies in E-flat Major and D Minor, and Beethoven's Eroica: Toward "New" Sonata Forms? - Timothy Jackson Schubert's "Unfinished" Symphony: Analytical Observations - David W. Beach Structural and Form-Functional Ambiguities in the First Movement of Schubert's Octet in F Major, D. 803 - Su Yin Mak The Form of Chopin's Prelude in B-flat Major, Op. 28, No. 21 - Roger Kamien "All That Is Solid Melts into Air": Schumann's Overture to Manfred - William Rothstein Endings without Resolution: The Slow Movement and Finale of Schumann's Second Symphony - Lauri Suurpää Half-Diminished-Seventh Openings in Brahms's Lieder - Ryan McClelland Motivic Enlargement in Dvorák's Symphony Op. 70 - Leslie Kinton Deliverance and Compositional Design in the "Libera me" of Verdi's Messa da Requiem - Donald R. McLean Polyphony and Cacophony? A Schenkerian Reading of Strauss's "Dance of the Seven Veils" - Matthew Brown A Force of Nature: Debussy and the Chromatically Displaced Dominant - Boyd Pomeroy Appendix: An Interview with Edward Laufer - Stephen Slottow
