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Free Composition
''Free Composition'' (''Der freie Satz'') is a treatise by Heinrich Schenker, and possibly Schenker's best known work. The third volume of ''New Musical Theories and Fantasies'' (preceded by ''Harmony'' and ''Counterpoint''), it was first published posthumously by Universal Edition in Vienna in 1935. A second German edition by Oswald Jonas appeared in Vienna in 1956. The American translation by Ernst Oster was published by Longman, New York and London, in 1979. ''Free Composition'' is often believed to present a complete and systematic outline of Schenker's mature theory, but it relies heavily on his previous writings, especially ''Der Tonwille'' (English translation, OUP, 2004) and ''Das Meisterwerk in der Musik'' (''The Masterwork in Music'', English translation, OUP, 1997) and cannot be fully appreciated without some knowledge of these publications. The word ''Satz'' does not easily translate in English. "Free composition" apparently implies that there may exist a "strict com ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Heinrich Schenker
Heinrich Schenker (19 June 1868 – 14 January 1935) was a Galician-born Austrian music theorist whose writings have had a profound influence on subsequent musical analysis. His approach, now termed Schenkerian analysis, was most fully explained in a three volume series entitled ''Neue musikalische Theorien und Phantasien'' (''New Musical Theories and Phantasies''), which included ''Harmony'' (1906), ''Counterpoint'' (1910; 1922) and ''Free Composition'' (1935). Born in Wiśniowczyk, Austrian Galicia, he studied law at University of Vienna and music at what is now the University of Music and Performing Arts Vienna where his teachers included Franz Krenn, Ernst Ludwig, Anton Bruckner and Johann Nepomuk Fuchs. Despite his law degree, he focused primarily on a musical career following graduation, finding minimal success as a composer, conductor and accompanist. From the 20th-century on, Schenker increasingly directed his efforts towards music theory, developing a systemic ap ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Harmony (Schenker)
''Harmony'' (german: Harmonielehre, or "Theory of Harmony") is a book published in 1906 by Heinrich Schenker. It is the first installment of Schenker's three-volume treatise on music theory entitled ''New Musical Theories and Fantasies''; the others are ''Counterpoint'' and ''Free Composition''. Schenker's name did not appear on the original edition of the work – the author was listed simply as "an artist". ''Harmony'', which was Schenker's first major book-length theoretical writing, is notable for defining the theoretical agenda that Schenker was to carry out over the subsequent three decades. Schenker makes a careful distinction between the theories of ''harmony'' (which for Schenker is concerned with relations among scale-steps) and ''counterpoint'' (which deals only with voice leading); he argues that other theorists have confusingly mixed these two concepts. He introduces the principle of repetition, which gives rise to the concept of the motive. Schenker also strongly hints ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Counterpoint (Schenker)
''Counterpoint'' (''Kontrapunkt'' in the original German) is the second volume of Heinrich Schenker's ''New Musical Theories and Fantasies'' (the first is ''Harmony'' and the third is ''Free Composition''). It is divided into two "Books", the first published in 1910, and the second in 1922. The subject matter of the work is species counterpoint. Book I is concerned with the construction of the cantus firmus and the rules of counterpoint in two voices, also referred to as "strict counterpoint"; Book II treats the cases of three- and four-voice counterpoint. Schenker thus follows the model of Fux in presenting all of the species in turn before adding additional voices. The Principles The principles of strict counterpoint constitute one of the fundamental components of Schenker's musical theory (see Schenkerian analysis). For Schenker, the study of counterpoint is the study of voice leading; in particular, contrapuntal theory is separate from and independent of harmonic theory, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Theory
A theory is a rational type of abstract thinking about a phenomenon, or the results of such thinking. The process of contemplative and rational thinking is often associated with such processes as observational study or research. Theories may be scientific, belong to a non-scientific discipline, or no discipline at all. Depending on the context, a theory's assertions might, for example, include generalized explanations of how nature works. The word has its roots in ancient Greek, but in modern use it has taken on several related meanings. In modern science, the term "theory" refers to scientific theories, a well-confirmed type of explanation of nature, made in a way consistent with the scientific method, and fulfilling the criteria required by modern science. Such theories are described in such a way that scientific tests should be able to provide empirical support for it, or empirical contradiction ("falsify") of it. Scientific theories are the most reliable, rigorous, and compr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Background (Schenker)
In Schenkerian analysis, a structural level is a representation of a piece of music at a different level of abstraction, with levels typically including foreground, middleground, and background. According to Schenker musical form is "an energy transformation, as a transformation of the forces that flow from background to foreground through the levels." For example, while details such as melodic notes exist at the lowest structural levels, the foreground, in the background the fundamental structure is the most basic structural level of all tonal music, representing the digression from and necessary return to the tonic that motivates musical form. It may be conceived of in a specific piece as the opening in the tonic and the return to the tonic with a perfect authentic cadence (V-I) after the development of sonata allegro form. Strata is the translation given by John Rothgeb for ''Schichten'' ("Levels") as described by Oswald Jonas in his ''Introduction to the Theory of Heinrich ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Middleground (Schenker)
In Schenkerian analysis, a structural level is a representation of a piece of music at a different level of abstraction, with levels typically including foreground, middleground, and background. According to Schenker musical form is "an energy transformation, as a transformation of the forces that flow from background to foreground through the levels." For example, while details such as melodic notes exist at the lowest structural levels, the foreground, in the background the fundamental structure is the most basic structural level of all tonal music, representing the digression from and necessary return to the tonic that motivates musical form. It may be conceived of in a specific piece as the opening in the tonic and the return to the tonic with a perfect authentic cadence (V-I) after the development of sonata allegro form. Strata is the translation given by John Rothgeb for ''Schichten'' ("Levels") as described by Oswald Jonas in his ''Introduction to the Theory of Heinric ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Foreground (Schenker)
In Schenkerian analysis, a structural level is a representation of a piece of music at a different level of abstraction, with levels typically including foreground, middleground, and background. According to Schenker musical form is "an energy transformation, as a transformation of the forces that flow from background to foreground through the levels." For example, while details such as melodic notes exist at the lowest structural levels, the foreground, in the background the fundamental structure is the most basic structural level of all tonal music, representing the digression from and necessary return to the tonic that motivates musical form. It may be conceived of in a specific piece as the opening in the tonic and the return to the tonic with a perfect authentic cadence (V-I) after the development of sonata allegro form. Strata is the translation given by John Rothgeb for ''Schichten'' ("Levels") as described by Oswald Jonas in his ''Introduction to the Theory of Heinric ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Structural Level
In Schenkerian analysis, a structural level is a representation of a piece of music at a different level of abstraction, with levels typically including foreground, middleground, and background. According to Schenker musical form is "an energy transformation, as a transformation of the forces that flow from background to foreground through the levels." For example, while details such as melodic notes exist at the lowest structural levels, the foreground, in the background the fundamental structure is the most basic structural level of all tonal music, representing the digression from and necessary return to the tonic that motivates musical form. It may be conceived of in a specific piece as the opening in the tonic and the return to the tonic with a perfect authentic cadence (V-I) after the development of sonata allegro form. Strata is the translation given by John Rothgeb for ''Schichten'' ("Levels") as described by Oswald Jonas in his ''Introduction to the Theory of Heinrich ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Counterpoint
In music, counterpoint is the relationship between two or more musical lines (or voices) which are harmonically interdependent yet independent in rhythm and melodic contour. It has been most commonly identified in the European classical tradition, strongly developing during the Renaissance and in much of the common practice period, especially in the Baroque period. The term originates from the Latin ''punctus contra punctum'' meaning "point against point", i.e. "note against note". In Western pedagogy, counterpoint is taught through a system of species (see below). There are several different forms of counterpoint, including imitative counterpoint and free counterpoint. Imitative counterpoint involves the repetition of a main melodic idea across different vocal parts, with or without variation. Compositions written in free counterpoint often incorporate non-traditional harmonies and chords, chromaticism and dissonance. General principles The term "counterpoint" has been us ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
