


![]() |
![]() |
![]() |
![]() |
This is where you can ask the Experts your questions. (For discussions or debates, use one of the "Facts" or "Values" forums.) The Experts will read them and either answer them here or send your questions back to you. If your question isn't answered or answered quickly, please don't take it personally. Our Experts are very busy people, travel often, etc. and sometimes have to pass on some excellent and interesting questions. For more information about "Ask the Experts," please contact one of THE FORUM administrators.
![]() |
![]() |
Feb 18 2005, 07:50 PM
Post
#1
|
|
![]() Member Group: Members Posts: 242 Joined: 12-February 05 From: McKenzie, TN Member No.: 121 |
Stephen Siek -
I am pursuing a BA in Music. In an advanced theory class I was introduced to the work of Heinrich Schenker. I was (& still am) amazed at how useful & insightful some of concepts are in analyzing music (i.e.: Ursatz, Urline, prolongation, contrapunctal versus harmonic chord function, etc.). I got several of his works & works related to his (especially Salzer's "Structural Hearing Tonal Coherence in Music") & have been entranced ever since. The approach he used is limited in some ways to certain styles & composers. But, I have found that it is possible to extrapolate many of the important ideas (especially the hierarchical nature of any tonal piece) & apply them to any piece that is within the bounds of tonality. In your view, how successful is Schenkerian theory in analyzing music? Thank you, Christopher Schlegel |
|
|
|
![]() |
![]() |
ChristopherSchlegel Heinrich Schenker Feb 18 2005, 07:50 PM
ssiek QUOTE(ChristopherSchlegel @ Feb 18 2005, 03:5... Feb 19 2005, 05:18 PM![]() ![]() |
|
Lo-Fi Version | Time is now: 3rd September 2010 - 02:51 AM |
| Invision Power Board skin developed by Transverse Styles | ||

