Schenker's Argument and the Claims of Music Theory
Heinrich Schenker's theoretical and analytical method occupies a central (and often troubling) position in modern Anglo-American musical studies. His writings claim to resubstantiate the unique artistic presence of the canonic work, and reject those disciplines, such as psychoacoustics and systematic musicology, which derive from the natural sciences. This book rereads Schenker's project as an attempt to reconstruct music theory as a discipline against the background of the new empirical musical sciences of the later nineteenth century, such as the psychological and historical investigations of music.
1000565995
Schenker's Argument and the Claims of Music Theory
Heinrich Schenker's theoretical and analytical method occupies a central (and often troubling) position in modern Anglo-American musical studies. His writings claim to resubstantiate the unique artistic presence of the canonic work, and reject those disciplines, such as psychoacoustics and systematic musicology, which derive from the natural sciences. This book rereads Schenker's project as an attempt to reconstruct music theory as a discipline against the background of the new empirical musical sciences of the later nineteenth century, such as the psychological and historical investigations of music.
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Schenker's Argument and the Claims of Music Theory

Schenker's Argument and the Claims of Music Theory

by Leslie David Blasius
Schenker's Argument and the Claims of Music Theory

Schenker's Argument and the Claims of Music Theory

by Leslie David Blasius

Hardcover

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Overview

Heinrich Schenker's theoretical and analytical method occupies a central (and often troubling) position in modern Anglo-American musical studies. His writings claim to resubstantiate the unique artistic presence of the canonic work, and reject those disciplines, such as psychoacoustics and systematic musicology, which derive from the natural sciences. This book rereads Schenker's project as an attempt to reconstruct music theory as a discipline against the background of the new empirical musical sciences of the later nineteenth century, such as the psychological and historical investigations of music.

Product Details

ISBN-13: 9780521550857
Publisher: Cambridge University Press
Publication date: 10/03/1996
Series: Cambridge Studies in Music Theory and Analysis , #9
Pages: 176
Product dimensions: 6.22(w) x 9.29(h) x 0.59(d)

Table of Contents

Foreword Ian Bent; Preface; Part I. The Appeal to Psychology: 1. A new program for music theory; 2. The psychologistic argument; 3. The contrapuntal laboratory; 4. An epistemological crisis and a plausible solution; 5. A descriptive and analytic psychology; Part II. The Historiological Imperative: 6. The authority of history; 7. The improvisational imagination, editing, execution; 8. The interior performance; 9. The paleographic argument; 10. The philological paradigm; Part III. The Objective Synthesis: 11. The coordination of discourses; 12. System and synthesis; 13. Closure; 14. Representation; 15. A priori and a posteriori theories; 16. Two polemics; 17. The function of ideology; Bibliography; Indexes.
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