Fundamentals[edit] Goals[edit] Schenker was convinced of the superiority of music of the common practice period (especially the music of Johann Sebastian Bach, arl !hilipp "manuel Bach, Joseph #aydn, $olf%an% &madeus 'oart, )udwi% van Beethoven, Fran Schubert, Fryderyk hopin, and Johannes Brahms*+[] -his led him to seek the key to an understandin% of music in the traditional discipline of counterpoint, the type of theory the 'asters themselves had studied+ Schenker.s pro/ect was to show that free composition (freier Sat* was an elaboration, a 0prolon%ation0, of strict composition (stren%er Sat*, by which he meant species counterpoint, particularly two1 voice counterpoint+ #e did this by developin% a theory of hierarchically or%anied levels of elaboration (&uskomponierun%*, called prolon%ational levels, voice2leadin% le vels (Stimmf3hrun%sschichten*, or transformations (4erwandlun%en*, (4erwandlun%en*, the idea bein% that each of the successive levels represents a new freedom taken with respect to the rules of strict composition+[5]
Because the 6rst principle of the elaboration is the 6llin% in of the tonal space by passin% notes, an essential %oal of the analysis is to show linear connections between notes which, 6llin% a sin%le triad at a %iven level, remain closely related to each other but which, at subse7uent levels, may become separated by many measures or many pa%es as new triad s are embedded in the 6rst one+ -he analyst is e8pected to develop a 0distance hearin%0 (Fernh9ren*,[:] (Fernh9ren*,[:] a 0structural hearin%0+[;]
#armony[edit] -he tonic triad, that from from which the work as a whole arises, takes takes its model model in the harmonic series+ #owever,
the mere duplication of nature cannot be the ob/ect of human endeavour+ endeavour+ -herefore [+++] the overtone series [+++] is transformed into a succession, a horiontal arpe%%iation, whi ch has the added advanta%e of lyin% within the ran%e of the human voice+ -hus the harmonic series is condensed, abbreviated for the purposes of art0+[<] )inkin% the (ma/or* triad to the harmonic series, Schenker merely pays lip service to an idea common in the early e arly =>th century+[?] century+[?] #e con6rms that the same derivation cannot be made for the minor triad@
&ny attempt to derive even as much as the 6rst foundation of this [minor] system, i+e+, the minor triad itself, from Aature, i+e+, from the overtone series, would be more than futile+ [+++] -he e8planation becomes much much easier if artistic intention rather than Aature herself is credited with the ori%in of the minor mode+0+[>] -he basic component of Schenkerian Schenkerian harmony is the Stufe Stufe (scale de%ree, scale1step*, scale1step*, i+e+ a chord havin% %ained structural si%ni6cance+ hords arise from within chords, as the result of the combination of passin% notes and arpe%%iations@ they are at 6rst mere embellishments, mere voice1leadin% constructions, but they become tonal spaces open for further elaboration and, once elaborated, can be considered structurally si%ni6cant@ they become scale1steps
properly speakin%+ Schenker reco%nies that 0there are no rules which could be laid down once and for all0 for reco%niin% scale steps,[] but from his e8amples one may deduce that a triad cannot be reco%nied as a scale1step as lon% as it can be e8plained by passin% or nei%hborin% voice1leadin%+
Schenkerian analyses label scale1steps with Coman numerals, a practice common in ?th1 and =>th1century 4ienna, developed by the theoretic work of Geor% Joseph 4o%ler and his student Gottfried $eber, transmitted by Simon Sechter and his disciple &nton Bruckner, the classes of which Schenker had followed in the Donservatorium in 4ienna+[=]
SchenkerEs theory is monotonal@ the rsat, as the diatonic unfoldin% of the tonic triad, by de6nition cannot include modulation+ )ocal 0tonicisation0 may arise when a scale1step is elaborated to the point of becomin% a local tonic, but the work as a whole pro/ects a sin%le key and ultimately a sin%le Stufe (the tonic*+[]
ounterpoint, voice1leadin%[edit] -wo1voice counterpoint remains for Schenker the model of strict writin%+ Free composition is a freer usa%e of the laws of strict counterpoint+ Hne of the aims of the analysis is to trace how the work remains sub/ect to these laws at the deepest level, despite the freedom taken at subse7uent levels+[]
Hne aspect of strict, two1voice writin% that appears to span SchenkerEs theory throu%hout the years of its elaboration is the rule of 0Iuent melody0 (Iiessender Gesan%*, or 0melodic Iuency0+ Schenker attributes the rule to herubini, who would have written that 0Iuent melody is always preferable in strict counterpoint0[5] 'elodic Iuency, the preference for con/unct (stepwise* motion, is one of the main rules of voice leadin%, even in free composition+ t avoids successive leaps and produces 0a kind of wave1like melodic line which as a whole represents an animated entity, and which, with its ascendin% and descendin% curves, appears balanced in all its individual component parts0+[:] -his idea is at the ori%in of that of linear pro%ression (Ku%* and, more speci6cally, of that of the Fundamental )ine (rlinie*+
rsat[edit] 'ain article@ rsat
-he minimal rsat@ a line scale de%ree scale de%ree = scale de%ree supported by an arpe%%iation of the bass &bout this sound !lay (helpLinfo*+ rsat (usually translated as 0fundamental structure0* is the name %iven by Schenker to the underlyin% structure in its simplest form, that from which the work as a whole ori%inates+ n the canonical form of the theory, it consists of the rlinie, the 0fundamental line0, supported
by the Bassbrechun%, the 0arpe%%iation of the bass0+ -he fundamental structure is a two1voice counterpoint and as such belon%s to strict composition+[;] n conformity with the theory of the tonal space, the fundamental line is a line startin% from any note of the triad and descendin% to the tonic itself+ -he arpe%%iation is an arpe%%iation throu%h the 6fth, ascendin% from to 4 and descendin% back to + -he rlinie unfolds the tonal space in a melodic dimension, while the Bassbrechun% e8presses its harmonic dimension+[<]
-he theory of the fundamental structure is the most criticied aspect of Schenkerian theory@ it has seemed unacceptable to reduce all tonal works to one of a few almost identical back%round structures+ -his is a misunderstandin%@ Schenkerian analysis is not about demonstratin% that all compositions can be reduced to the same back%round, but about showin% how each work elaborates the back%round in a uni7ue, individual manner, determinin% both its identity and its 0meanin%0+ Schenker has made this his motto@ Semper idem, sed non eodem modo, 0always the same, but never in the same manner0+[?]
-he fundamental line[edit] 'ain article@ Fundamental line -he idea of the fundamental line comes 7uite early in the development of SchenkerEs theory+ ts 6rst printed mention dates from ?=>, in the edition of BeethovenEs Sonata op+ >, but the idea obviously links with that of 0Iuent melody0, ten years earlier+[=>] Schenker 6rst conceived the rlinie, the 0fundamental line0, as a kind of motivic line characteried by its Iuency, repeated under diMerent %uises throu%hout the work and ensurin% its homo%eneity+ #e later ima%ined that a musical work should have only one fundamental line, unifyin% it from be%innin% to end+ -he realiation that such fundamental lines usually were descendin% led him to formulate the canonical de6nition of the fundamental line as necessarily descendin%+ t is not that he re/ected ascendin% lines, but that he came to consider them hierarchically less important+ 0-he fundamental line be%ins with scale de%ree <, scale de%ree 5 or scale de%ree , and moves to scale de%ree via the descendin% leadin% tone scale de%ree =0+[=] -he initial note of the fundamental line is called its 0head tone0 (Dopfton* or 0primary tone0+ -he head note may be elaborated by an upper nei%hbour note, but not a lower one+[==] n many cases, the head note is reached throu%h an ascendin% line (&nstie%, 0initial ascent0* or an ascendin% arpe%%iation, which do not belon% to the fundamental structure properly speakin%+ [=]
-he arpe%%iation of the bass and the divider at the 6fth[edit] 'ain article@ Bass arpe%%iation -he arpe%%iation throu%h the 6fth is an imitation of the overtone series, adapted to man [sic] 0who within his own capacities can e8perience sound only in a succession0+[=] -he 6fth of the arpe%%iation coincides with the last passin% note scale de%ree = of the fundamental line+ -his at 6rst produces a mere 0divider at the 6fth0, a comple8 6llin% in of the tonal space+ #owever, as a consonant combination, it de6nes at a further level a new tonal space, that of the dominant chord, and so doin% opens the path for further developments of the work+ t would appear that the diMerence between the divider at the 6fth and the dominant chord properly speakin% really depends on the level at which the matter is considered@ the notion of the divider at the 6fth views it as an elaboration of the initial tonal space, while the notion of
dominant chord conceives it as a new tonal space created within the 6rst+ But the opinions of modern Schenkerians diver%e on this point+[=5]
Schenkerian notation[edit] Graphic representations form an important part of Schenkerian analyses@ 0the use of music notation to represent musical relationships is a uni7ue feature of Schenker.s work0+[=:] Schenkerian %raphs are based on a 0hierarchic0 notation, where the sie of the notes, their rhythmic values andNor other devices indicate their structural importance+ Schenker himself, in the Foreword to his Five Graphic &nalyses, claimed that 0the presentation in %raphic form has now been developed to a point that makes an e8planatory te8t unnecessary0+[=;] "ven so, Schenkerian %raphs represent a chan%e of semiotic system, a shift from music itself to its %raphical representation, akin to the more usual chan%e from music to verbal (analytic* commentaryO but this shift already e8ists in the score itself, and Schenker ri%htly noted the analo%y between music notation and analysis+[=<] Hne aspect of %raphic analyses that may not have been enou%h stressed is the desire to abolish time, to represent the musical work as somethin% that could be apprehended at a %lance or, at least, in a way that would replace a 0linear0 readin% by a 0tabular0 one+
Chythmic reduction of the 6rst measures of hopin.s Study op+ > n+ + Simpli6ed version of the analysis of the 0%round1harmony0 in erny.s School of !ractical omposition, <<+ &bout this sound !lay ori%inal (helpLinfo* or &bout this sound !lay reduction (helpLinfo* -he 6rst step of the analytic rewritin% often takes the form of a 0rhythmic0 reduction, that is one that preserves the score, but 0normalies0 its rhythm and its voice1leadin% content+[=?] -his type of reduction has a lon% tradition, not only in counterpoint treatises or theory books, [>] but also in the simpli6ed notation of some Baro7ue works, e+%+ the !relude to #Pndel.s Suite in & ma/or, #$4 =:, or early versions of Bach.s ma/or !relude of Book of the $ell -empered Deyboard+ Hne indirect advanta%e of rhythmic reduction is that it helps readin% the voice leadin%@ erny.s e8ample hereby transforms hopin.s arpe%%ios into a composition in four (or 6ve* voices+ "dward &ldwell and arl Schachter write that the 6rst rewritin% should 0produce a settin% that is reasonably close to note1a%ainst1note+0[] &llen adwallade r and Qavid Ga%nR su%%est a special type of rhythmic reduction that they call 0ima%inary continuo0, [=] stressin% the link between the rhythmic reduction and a notation as a melody with 6%ured bass+ Basically, it consists in ima%inin% a 6%ured bass line for the work analyed, and writin% a chordal realiation of it+
Schenker himself usually be%an his analyses with a rhythmic reduction that he termed rlinietafel+ From ?=5 onwards, he complemented these with other levels of representation, correspondin% to the successive steps leadin% to the fundamental structure+ &t 6rst, he mainly relyed on the sie of the note shapes to denote their hierarchic level, but later abandoned this system as it proved too comple8 for contemporary techni7ues of musical en%ravin%+ &llen adwallader and Qavid Ga%nR propose a description of Schenker.s system of %raphic notation which, they say, 0is Ie8ible, enablin% musicians to e8press in subtle (and sometimes diMerent* ways what they hear and how they interpret a composition0+ -hey discuss open noteheads, usually indicatin% the hi%hest structural level, and 6lled1in noteheads for tones of lower levelsO slurs, %roupin% tones in an arpe%%io or in linear motions with passin% or nei%hbor tonesO
beams, for linear motions of hi%her structural level or for the arpe%%iation of the bassO broken ties, for repeated or sustained tonesO dia%onal lines to reali%n displaced notesO dia%onal beams, connectin% successive notes that belon% to the same chord (0unfoldin%0*O etc+[]
-echni7ues of prolon%ation[edit] 'ain article@ !rolon%ation -he meat of a Schenkerian analysis is in showin% how a back%round structure e8pands until it results in the succession of musical events on the surface of the composition itself+ Schenker refers to this process under the term &uskomponierun%, literally 0composin% out0, but more often translated as 0elaboration0+ 'odern Schenkerians usually prefer the term 0prolon%ation0, stressin% that elaborations develop the events alon% the time a8is+
Schenker writes@
n practical art the main problem is how to realie the concept of harmony in a live content+ n hopinEs !relude, op+ =<, Ao :, thus, it is the motif
&bout this sound !lay chord (helpLinfo* or &bout this sound !lay arpe%%io (helpLinfo* that %ives life to the abstract concept of the triad, B, Q, F1sharp+[] -he elaboration of the triad, here mainly in the form of an arpe%%io, loads it with 0live content0, with meanin%+ "laborations take the form of diminutions, replacin% the total duration of the elaborated event by shorter events in lar%er number+ By this, notes are displaced both in pitch and in rhythmic position+ -he analysis to some e8tent aims at restorin% displaced notes in their 0normal0 position and e8plainin% how and why they were displaced+[5]
"laboration of the F ma/or chord &bout this sound !lay (helpLinfo* Hne aspect of Schenkerian analysis is that it does not view the work as built from a succession of events, but as the %rowth of new events from within events of hi%her level, much as a tree develops twi%s from its branches and branches from its trunk@ it is in this sense that Schenkerian theory must be considered or%anicist+ -he e8ample hereby may at 6rst be considered a mere elaboration of an F ma/or chord, an arpe%%iation in three voices, with passin% notes (shown here in black notes without stem* in the two hi%her voices@ it is an e8empli6cation of the tonal space of F ma/or+ -he chord labelled (4* at 6rst merely is a 0divider at the 6fth0+ #owever, the meetin% of the 6fth (* in the bass arpe%%iation with the passin% notes may also be understood as producin% a dominant chord, 4, arisin% from within the tonic chord + -his is the situation found at the be%innin% of #aydn.s Sonata in F ma/or, #ob+ 4@=?, where the (incomplete* dominant chord appears at the very end of bar , while the rest of the fra%ment consist of arpe%%ios (with nei%hbor notes* of the F chord@[:]
&bout this sound !lay (helpLinfo* &rpe%%iation, nei%hbour note, passin% note[edit] &rpe%%iation is the simplest form of elaboration+ t delimitates a tonal space for elaboration, but lacks the melodic dimension that would allow further developments@ it 0remains a harmonic phenomenon0+[;] From the very structure of triads (chords*, it follows that arpe%%iations remain dis/unct and that any 6llin% of their space involves con/unct motion+ Schenker distin%uishes two types of 6llin% of the tonal space@ 2 nei%hbor notes (Aebennoten*, ornamentin% one sin%le note of the triad by bein% ad/acent to it+ 2 passin% notes, which pass by stepwise motion from one note to another and 6ll the space in between+ Both nei%hbor notes and passin% notes are dissonances+ -hey may be made consonant by their meetin% other notes (as in the #aydn e8ample above* and, once consonant, may delimitate further tonal spaces open to further elaborations+ nsofar as chords consist of several voices, arpe%%iations and passin% notes always involve passin% from one voice to another+
)inear pro%ression (0Ku%0*[edit] 'ain article@ )inear pro%ression & linear pro%ression (Ku%* is the stepwise 6llin% of some consonant interval+ t usually is underlined in %raphic analyses with a slur from the 6rst note of the pro%ression to the last+ -he most elementary linear pro%ressions are determined by the tonal space that they elaborate@ they span from the prime to the third, from the third to the 6fth or from the 6fth to the octave of the triad, in ascendin% or descendin% direction+ Schenker writes@ 0there are no other tonal spaces than those of 2, 25, and 52<+ -here is no ori%in for passin%1tone1 pro%ressions, or for melody0[<] )inear pro%ressions, in other words, may be either third pro%ressions (-er3%e* or fourth pro%ressions (Tuart3%e*O lar%er pro%ressions result from a combination of these+ )inear pro%ressions may be incomplete (deceptive* when one of their tones is replaced by another, but nevertheless su%%ested by the harmony+ n the e8ample below, the 6rst bars of BeethovenEs Sonata op+ >?, the bass line descends from " to "=+ FU= is replaced by B in order to mark the cadence, but it remains implicit in the B chord+ n addition, the top voice answers the bass line by a voice e8chan%e, "1FU1GU above GU=1 (FU=*1"=, in bar , after a descendin% arpe%%io of the " chord+ -he bass line is doubled in parallel tenths by the alto voice, descendin% from GU to GU, and the tenor voice alternatively doubles the soprano and the bass, as indicated by the dotted slurs+ t is the bass line that %overns the passa%e as a whole@ it is the 0leadin% pro%ression0, on which all the other voices depend and which best e8presses the elaboration of the " ma/or chord+[?]
&bout this sound !lay reduction (helpLinfo* or &bout this sound !lay ori%inal (helpLinfo* Schenker describes lines coverin% a seventh or a ninth as 0illusory0,[>] considerin% that they stand for a second (with a re%ister transfer*@ they do not 6ll a tonal space, they pass from one chord to another+[]
)ines between voices, reachin% over[edit] !assin% tones 6llin% the intervals of a chord may be considered formin% lines between the voices of this chord+ &t the same time, if the chord tones themselves are involved in lines from one chord to another (as usually is the case*, lines of lower level unfurl between lines of hi%her level+ -he most interestin% case is when the lines link an inner voice to the upper voice+ -his may happen not only in ascendin% (a case usually described as a 0line from an inner voice0*, but also in descendin%, if the inner voice has been displaced above the upper line by a re%ister transfer, a case known as 0reachin% over0 (Vber%reifen*+ n the e8ample from SchubertEs $anderers Aachtlied below, the descendin% line G♭2F2"♭2Q♭ at the end of the 6rst bar may be read as a reachin% over+
nfoldin%[edit] 'ain article@ nfoldin% (music* nfoldin% (&usfaltun%* is an elaboration by which several voices of a chord or of a succession of chords are combined in one sin%le line 0in such a manner that a tone of the upper voice is connected to a tone of the inner voice and then moves back, or the reverse0+[=] &t the end of SchubertEs $anderers Aachtlied op+ n+ , the vocal melody unfolds two voices of the succession 242O the lower voice, Bb2&b2Gb, is the main one, e8pressin% the tonality of Gb ma/orO the upper voice, Qb2b2Bb, is doubled one octave lower in the ri%ht hand of the accompaniment@
&bout this sound !lay reduction (helpLinfo* or &bout this sound !lay ori%inal (helpLinfo* n his later writin%s (from ?> onwards*, Schenker sometimes used a special si%n do denote the unfoldin%, an obli7ue beam connectin% notes of the diMerent voices that are conceptually simultaneous, even if they are presented in succession in the sin%le line performin% the unfoldin%+[]
Ce%ister transfer, couplin%[edit] Ce%ister transfer is the motion of one or several voices into a diMerent octave (i+e+ into a diMerent re%ister*+ Schenker considers that music normally unfolds in one re%ister, the 0obli%atory re%ister0, but at times is displaced to hi%her or lower re%isters+ Ce%ister transfers are particularly strikin% in piano music (and that for other keyboard instruments*, where contrasts of re%ister (and the distance between the two hands* may have a strikin%, 7uasi orchestral eMect+[] ouplin% is when the transferred parts retain a link with their ori%inal re%ister+ -he work, in this case, appears to unfold in two re%isters in parallel+
4oice e8chan%e[edit] 'ain article@ 4oice e8chan%e 4oice e8chan%e is a common device in counterpoint theory+ Schenkerians view it as a means of elaboratin% a chord by modifyin% its position+ -wo voices e8chan%e their notes, often with
passin% notes in between+ &t the end of the e8ample of BeethovenEs Hp+ >? above, the bass and soprano e8chan%e their notes@ GW is transferred from bass to soprano, while " is transferred from soprano to bass+ -he e8chan%e is marked by crossed lines between these notes+[5]
"laboration of the Fundamental Structure[edit] -he elaborations of the fundamental structure deserve a speci6c discussion because they may determine the form of the work in which they occur+
nitial ascent, initial arpe%%iation[edit] -he startin% point of the fundamental line, its 0head note0 (Dopfton*, may be reached only after an ascendin% motion, either an initial ascendin% line (&nstie%* or an initial arpe%%iation, which may take more e8tension than the descendin% fundamental line itself+ -his results in melodies in arch form+ Schenker decided only in ?> that the fundamental line should be descendin%@ in his earlier analyses, initial ascendin% lines often are described as bein% part of the rlinie itself+[=]
First order nei%hbor note[edit] Schenker stresses that the head note of the fundamental line often is decorated by a nei%hbor note 0of the 6rst order0, which must be an upper nei%hbor because 0the lower nei%hborin% note would %ive the impression of the interruption0+ -he nei%hbor note of the 6rst order is scale de%ree 2scale de%ree 2scale de%ree or scale de%ree 52scale de%ree :2scale de%ree 5@ the harmony supportin% it often is the 4th or 4th de%ree, which may %ive rise to a section of the work at the subdominant+[:]
&rticulation of the span from to 4 in the bass arpe%%iation[edit] -he canonic form of the bass arpe%%iation is 242+ -he second interval, 42, forms under scale de%ree =2scale de%ree the perfect authentic cadence and is not susceptible of elaboration at the back%round level+ -he 6rst span, 24, on the other hand, usually is elaborated+ -he main cases include@[;]
224[edit] -his is the complete arpe%%iation of the triad+ Hnce elaborated, it may consist in a succession of three tonalities, especially in pieces in minor+ n these cases, stands for a tonicisation of the ma/or relative+ -his often occurs in Sonata forms in minor, where the 6rst thematic %roup elaborates de%ree , the second thematic %roup is in the ma/or relative, de%ree , and the development leads to 4 before the recapitulation in the tonic key+
2424 or 224[edit]
Bass elaboration 14141 &bout this sound !lay (helpLinfo* "ven thou%h he never discussed them at len%th, these elaborations occupy a very special place in SchenkerEs theory+ Hne mi%ht even ar%ue that no description of an rsat properly speakin% is complete if it does not include 4 or at the back%round level+ Schenker uses a special si%n to denote this situation, the double curve shown in the e8ample hereby, crossin% the slur that links 4 (or * to 4+ -hat 4 (here, F* is written as a 7uarter note indicates that it is of lower rank than and 4, notated as half notes+ -here e8ists here an une8pected link between Schenkerian theory and CiemannEs theory of tonal functions, a fact that mi%ht e8plain SchenkerEs reluctance to be more e8plicit about it+ n modern Schenkerian analysis, the chord of 4 or is often dubbed the 0predominant0 chord, as the chord that prepares the dominant one, and the pro%ression may be labelled 0-2!2Q2-0, for -onic2!redominant2 Qominant2-onic+
222424[edit] -he dominant chord may be linked to the tonic by a stepwise linear pro%ression+ n such case, one of the chords in the pro%ression, , or 4, usually takes preeminence, reducin% the case to one or the other described above+
nterruption[edit] -he interruption (nterbrechun%* is an elaboration of the fundamental line, which is interrupted at its last passin% note, scale de%ree =, before it reaches its %oal+ &s a result, the bass arpe%%iation itself is also interrupted at the divider at the 6fth (4*+ Both the fundamental line and the bass arpe%%iation are bound to return to their startin% point and the fundamental structure repeats itself, eventually reachin% its %oal+ -he interruption is the main form1 %eneratin% elaboration@ it often is used in binary forms (when the 6rst part ends on the dominant* or, if the elaboration of the 0dividin% dominant0, scale de%ree = above 4, takes some importance, it may produce ternary form, typically sonata form+[<]
'i8ture[edit] Schenker calls 0mi8ture0 ('ischun%* the chan%e of mode of the tonic, i+e+ the replacement of its ma/or third by the minor one, or of its minor third by the ma/or one+ -he elaboration of the resultin% chord may %ive rise to a section in minor within a work in ma/or, or the reverse+[?]
-ransference of the fundamental structure[edit] -he forms of the fundamental structure may be repeated at any level of the work+ 0"very transferred form [of the fundamental structure] has the eMect of a self1contained structure within which the upper and lower voices delimit a sin%le tonal space0+[5>] -hat is to say that any phrase in a work could take the form of a complete fundamental structure+ 'any classical themes (e+%+ the theme to the set of variations in 'oartEs D piano sonata* form self1 contained structure of this type+ -his resemblance of local middle%round structures to back%round structures is part of the beauty and appeal of Schenkerian analysis, %ivin% it the appearance of a recursive construction+[5]
)e%acy and responses[edit] "urope before $orld $ar [edit] Schenker himself mentioned in a letter of ?=; to his student Feli81"berhard von ube that his ideas continued 0to be felt more widely@ "dinbur%h [with John !etrie Qunn], (also Aew Xork [probably with Geor%e $ed%e]*, )eipi% [with Ceinhard Hppel], Stutt%art [with #erman Coth], 4ienna (myself and [#ans] $eisse*, [Htto] 4rieslander in 'unich [Y], yourself [von ube] in Quisbur%, and [&u%ust] #alm [in $ickersdorf, -hurin%ia]+0[5=] 4on ube, with 'orit 4iolin, another of SchenkerEs students, founded the Schenker nstitut in #ambur% in ?+[5] Hswald Jonas published Qas $esen des 'usikalisches Dunstwerkes in ?=, and Feli8 Saler Sinn und $esen des &bendlPndischen 'ehrstimmi%keits in ?5, both based on Schenkerian concepts+ Hswald Jonas and Feli8 Saler founded and edited to%ether the short1lived Schenkerian /ournal Qer Qreiklan% (4ienna, ?;1?<*+[5]
$orld $ar brou%ht "uropean studies to a halt+ Schenker.s publications were placed under Aai ban and some were con6scated by the Gestapo+ t is in the nited States that Schenkerian analysis knew its 6rst important developments+
"arly reception in the S&[edit] Geor%e $ed%e tau%ht some of SchenkerEs ideas as early as ?=5 in the nstitute of 'usical &rts, Aew Xork+[55] 4ictor 4au%hn )ytle, who had studied with #ans $eisse in 4ienna, wrote what may be the earliest "n%lish1lan%ua%e essay dealin% with Schenkerian concepts, 0'usic omposition of the !resent0 (-he &merican Hr%anist, ?*, without however really creditin% Schenker for them+[5:] $eisse himself, who had studied with Schenker at least from ?=, immi%rated to the nited States and be%an teachin% Schenkerian analysis at the 'annes School of 'usic in Aew Xork in ?+ Hne of his students, &dele -+ Dat, devoted an article to 0#einrich Schenker.s 'ethod of &nalysis0 in ?5,[5;] then an important book, hallen%e to 'usical -radition, in ?5, in which she applied Schenkerian analytical concepts not only to some of Schenker.s favorite composers, Johann Sebastian and !hilipp "mmanuel Bach, #aydn and Beethoven, but also to $a%ner, Qebussy, Stravinsky and Schoenber%@ this certainly represents one of the earliest attempt to widen the corpus of Schenkerian analysis+[5<]
-he opinions of the critics were not always positive, however+ Co%er Sessions published in 'odern 'usic = ('ay1June ?5* an obituary article under the title 0#einrich SchenkerEs ontribution0[5?] where, after havin% reco%nied some of Schenker.s achievements, he criticies the development of the last years, until Qer freie Sat (which he admits is not yet available in the S* and concludes that 0t is precisely when Schenker.s teachin%s leave the domain of e8act description and enter that of do%matic and speculative analysis that they become essentially sterile0+[:>] -he most ra%in% attack a%ainst Schenker came in the 0"ditorial0 that !aul #enry )an% devoted in -he 'usical Tuarterly =N= (&pril ?:* to the recently published book by &dele Dat, hallen%e to 'usical -radition, which he opposed to Qonald -ovey.s Beethoven, also published in ?5O his attacks also tar%et Schenker.s followers, probably the &merican ones+ #e writes@
Schenker.s and his disciples. musical theory and philosophy is not art, its whol e outlook 2 at least as e8pressed in their writin%s 2 lacks feelin%+ -here was seldom a colder spirit than theirsO the only warmth one feels is the warmth of do%matism+ 'usic interests them only insofar as it 6ts into their system [+++]+ n reality music serves only to furnish %rist for the mill of their insatiable theoretical mind, not for their heart or ima%ination+ -here is no art, no poetry, in this remarkable system which deals with the raw materials of music with a virtuoso hand+ Schenker and his disciples play with music as others play chess, not even suspectin% what fantasy, what sentimental whirlpools lie at the bottom of every composition+ -hey see lines only, no colors, and their ideas are cold and orderly+ But music is color and warmth, which are the values of a concrete art+[:] &fter $orld $ar [edit] -ranslations[edit] Schenker left about >>> pa%es of printed te8t, of which the translations at 6rst were astonishin%ly slow+ -hey are today all translated in "n%lish, and the pro/ect Schenker Qocuments Hnline is busy with the edition and translation of more than >> >>> manuscript pa%es+ -ranslations in other lan%ua%es remain slow+
