Schenker versus Schoenberg versus Schenker

The Difficulties of a Reconciliation

Bibliographic Data

ID5010705
AuthorsGianmario Borio (0000-0002-3167-2550, University of Pavia, corresponding author)
Year2001
Volume126
Issue2
Pages250-274
Publication date2001-01-01
Open AccessYes
TypeARTICLE
VenueJournal of the Royal Musical Association (JOURNAL)
Journal identifiersISSN: 0269-0403 • E-ISSN: 1471-6933
PublisherCambridge University Press (PUBLISHER • US)
DOI10.1093/jrma/126.2.250
OpenAlexW2006003037
LanguageDE
Citations received8
References cited4

Music theory has increasingly been attempting to find points of conjunction between the analytical methods of Heinrich Schenker and those of Arnold Schoenberg. However, the move toward a reconciliation has encountered obstacles because of the uneven development of the two schools and differences in the philosophical background of their procedures. The present article focuses on these differences through an examination of three standard examples: the first movements of Beethoven's sonatas op. 2 no. 1, op. 10 no. 1 and op. 57. The comparison of Schenker's analyses inDer TonwilleandDer freie Satzwith those of Schoenberg, Webern, Rufer and Ratz shows that the disagreement principally concerns musical form and the functions of its components. The differences can finally be traced back to two opposite paradigms: music as nature and music as language

Art · Literature · Musical · Bach Studies and Logistics Development · Music Technology and Sound Studies · Musicology and Musical Analysis · Philosophy

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