The first detailed study of Schenker's pathbreaking 1906 treatise,
showing how it reflected 2500 years of thinking about harmony and
presented a vigorous reaction to Austro-Germanic music theory ca.
1900. What makes the compositions of Handel, Bach, Haydn, Mozart,
Beethoven, Schubert, Schumann, Chopin, and Brahms stand out as
great works of art? Heinrich Schenker (1868-1935) set out to answer
this question in a series of treatises, beginning with a strikingly
original work with the deceptive title Harmonielehre (roughly:
Treatise on Harmony, 1906). Whereas other treatises of the period
associated harmony with the abstract principles governing chords
and chord progressions, Schenker's treated it as the conceptual
glue that allowed the individual elements of a work (melodies,
motives, chords, counterpoint, etc.) to work together locally and
globally. Yet this book,though renowned and much cited, has never
been studied systematically and in close detail. Heinrich
Schenker's Conception of Harmony approaches Schenker's 1906
treatise as a synthesis of ancient ideas and very new ones. It
translates, for the first time, two preparatory essays for
Harmonielehre and describes his later views of harmony and the ways
in which they influenced and also were ignored by the 1954 edition
and translation, entitled simply Harmony. Though problematic,
Harmony was the first published translation of a major work by
Schenker, inaugurating the study of his writings in postwar America
and Britain, where they continue to be highly influential.
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