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Schenker's Argument and the Claims of Music Theory

$51.99 (C)

Part of Cambridge Studies in Music Theory and Analysis

  • Date Published: November 2006
  • availability: Available
  • format: Paperback
  • isbn: 9780521030090

$ 51.99 (C)

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About the Authors
  • Heinrich Schenker's theoretical and analytical method occupies a central (and often troubling) position in modern Anglo-American musical studies. His writings claim to resubstantiate the unique artistic presence of the canonic work, and reject those disciplines, such as psychoacoustics and systematic musicology, which derive from the natural sciences. This book rereads Schenker's project as an attempt to reconstruct music theory as a discipline against the background of the new empirical musical sciences of the later nineteenth century, such as the psychological and historical investigations of music.

    • An important perspective on the crucially important music theorist Heinrich Schenker
    • Reexamines the central texts of modern music theory in terms of contemporary critical theory
    • Examines late nineteenth- and early twentieth-century musical sources (many of which are not widely known)
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    Reviews & endorsements

    "...distinguished by an extremely impressive breadth of research." Journal of Aesthetics and Art Criticism

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    Product details

    • Date Published: November 2006
    • format: Paperback
    • isbn: 9780521030090
    • length: 176 pages
    • dimensions: 228 x 152 x 10 mm
    • weight: 0.277kg
    • contains: 13 music examples
    • availability: Available
  • Table of Contents

    Foreword Ian Bent
    Part I. The Appeal to Psychology:
    1. A new program for music theory
    2. The psychologistic argument
    3. The contrapuntal laboratory
    4. An epistemological crisis and a plausible solution
    5. A descriptive and analytic psychology
    Part II. The Historiological Imperative:
    6. The authority of history
    7. The improvisational imagination, editing, execution
    8. The interior performance
    9. The paleographic argument
    10. The philological paradigm
    Part III. The Objective Synthesis:
    11. The coordination of discourses
    12. System and synthesis
    13. Closure
    14. Representation
    15. A priori and a posteriori theories
    16. Two polemics
    17. The function of ideology

  • Author

    Leslie David Blasius


    Ian Bent

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