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Summary
Schenkerian Analysis: A Basic Introduction introduces students of music theory and composition to the fundamental concepts and methods of this system of musical analysis. For many students, understanding and using this system is a daunting task; not only does the theory present its own special language, it involves learning specific skills, from how to make analytical charts to outlining a composition. This book offers the first clear and simple way to learn this technique. Although aimed at the beginning student, this book does more than just introduce the basics. It takes the student step-by-step from making a basic Schenkerian graph through the more difficult aspects of advanced work. For this reason, it could serve both as a text to be used as part of a broader course on theory as well as for more advanced seminars on Schenkerian technique alone. In short, Schenkerian Analysis: A Basic Introduction sets a new standard for a comprehensive, understandable introduction to this importanttheory.
Author Biography
Tom Pankhurst is Senior Lecturer at Liverpool Hope University.
Table of Contents
| List of figure and examples | p. viii |
| Preface | p. xiii |
| An overview of Schenkerian analysis | p. 1 |
| An introduction to the concepts of Schenkerian analysis | p. 3 |
| Schenkerian analysis: some key ideas | p. 5 |
| An overview of the basics | p. 10 |
| Music and elaboration | p. 10 |
| Basic melodic elaborations | p. 21 |
| Further elaborations | p. 32 |
| Larger-scale structures | p. 50 |
| Bass prolongations | p. 51 |
| Elaborations of the bass | p. 52 |
| Two-part contrapuntal structures | p. 54 |
| Closure and the descending line | p. 55 |
| Variants of the Urlinie | p. 60 |
| The main prolongations of the Ursatz | p. 63 |
| Compound melody and background prolongations | p. 63 |
| Initial arpeggiations and initial ascents | p. 63 |
| Motion from and to an inner voice | p. 65 |
| Interruptions and neighbor notes | p. 68 |
| Obligatory register | p. 72 |
| Register transfer and coupling | p. 74 |
| Mixture | p. 77 |
| Some further prolongations of the Bassbrechung | p. 78 |
| Substitution and cover tones | p. 80 |
| Getting started on an analysis | p. 85 |
| A four-stage method | p. 87 |
| An introduction to the analytical process | p. 87 |
| Stages one and two | p. 91 |
| Harmonic analysis | p. 94 |
| Stage three (middleground analysis) | p. 95 |
| Stage four (background analysis) | p. 100 |
| A final worked example | p. 104 |
| Presenting a Schenkerian analysis | p. 108 |
| Foreground graphs | p. 109 |
| Middleground graphs | p. 115 |
| Middleground summaries | p. 120 |
| Schenkerian notation in practice | p. 122 |
| Analysis in practice | p. 127 |
| Schenkerian analysis and form | p. 129 |
| Allegretto from Beethoven's Piano Sonata, Op. 14, No. 1 | p. 130 |
| Chopin, Grande Valse Brilliante, Op. 18 | p. 137 |
| Haydn, Divertimento in C major, Hob. XVI, No. 10 | p. 141 |
| Playing with register | p. 154 |
| Menuetto from Mozart's "Dissonance" Quartet | p. 156 |
| Menuetto from Beethoven's Piano Sonata in F minor, Op. 2, No. 1 | p. 161 |
| Parallelisms and dramatic structure | p. 166 |
| Hidden repetition | p. 166 |
| Beethoven, Piano Sonata in E major, Op. 14, No. 1 | p. 170 |
| Beethoven, String Quartet in F minor, Op. 95 | p. 174 |
| Beyond Schenker: The breakdown of tonal hierarchy | p. 180 |
| Exercises | p. 191 |
| Foreground analysis | p. 193 |
| Middleground analysis | p. 199 |
| Longer extracts | p. 203 |
| Problematic extracts | p. 221 |
| Schenker's analyses | p. 231 |
| Glossary | p. 239 |
| Notes | p. 248 |
| Select bibliography | p. 251 |
| Index | p. 253 |
| Table of Contents provided by Ingram. All Rights Reserved. |
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