When Schubert's contemporary reviewers first heard his modulations,
they famously claimed that they were excessive, odd and unplanned.
This book argues that these claims have haunted the analysis of
Schubert's harmony ever since, outlining why Schubert's music
occupies a curiously marginal position in the history of music
theory. Analyzing Schubert traces how critics, analysts and
historians from the early nineteenth century to the present day
have preserved cherished narratives of wandering, alienation,
memory and trance by emphasizing the mystical rather than the
logical quality of the composer's harmony. This study proposes a
new method for analyzing the harmony of Schubert's works. Rather
than pursuing an approach that casts Schubert's famous harmonic
moves as digressions from the norms of canonical theoretical
paradigms, Suzannah Clark explores how the harmonic fingerprints in
Schubert's songs and instrumental sonata forms challenge pedigreed
habits of thought about what constitutes a theory of tonal and
formal order.
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