Graphic Music Analysis

This book approaches Schenkerian analysis in a practical and accessible manner fit for the classroom, guiding readers through a step-by-step process. It is suitable for advanced undergraduates and graduate students of musicology, music theory, composition, and performance, and it is replete with a wide variety of musical examples.

Five analytical sketches by a great theorist offer highly developed examples of an influential method of musical structural analysis: a J. S. Bach chorale and prelude, a section of a Haydn sonata, and two Chopin ètudes.

Published originally by the David Mannes Music School, New York, in 1933 under the German title.

"This book consists of analyses of thirty-three musical passages or entire short works in a variety of post-tonal styles. The works under study are taken from throughout the long twentieth century, from 1909 to the present. Within the atonal wing of modern classical music, the composers discussed here, some canonical and some not, represent a diversity of musical style, chronology, geography, gender, and race/ethnicity. Composers studied include Schoenberg, Webern, Berg, Bartok, Stravinsky, Copland, Crawford-Seeger, Babbitt, Dallapiccola, Carter, Louise Talma, Hale Smith, Elisabeth Lutyens, Ursula Mamlok, Tania León, Tan Dun, Shulamit Ran, Kaija Saariaho, Joan Tower, John Adams, Sofia Gubaidulina, Thomas Adès, Caroline Shaw, Chen Yi, and Suzanne Farrin. The approach is pedagogical, in the somewhat informal style of a classroom. Musical examples and analytical videos carry the burden of the analytical argument, with relatively little prose. For each piece, the book suggests ways of making sense of the music, using basic concepts of post-tonal theory to tease out rich networks of musical relationships and reveal something of the fascination and beauty of this challenging music"--

"This book consists of analyses of thirty-three musical passages or entire short works in a variety of post-tonal styles. The works under study are taken from throughout the long twentieth century, from 1909 to the present. Within the atonal wing of modern classical music, the composers discussed here, some canonical and some not, represent a diversity of musical style, chronology, geography, gender, and race/ethnicity. Composers studied include Schoenberg, Webern, Berg, Bartok, Stravinsky, Copland, Crawford-Seeger, Babbitt, Dallapiccola, Carter, Louise Talma, Hale Smith, Elisabeth Lutyens, Ursula Mamlok, Tania León, Tan Dun, Shulamit Ran, Kaija Saariaho, Joan Tower, John Adams, Sofia Gubaidulina, Thomas Adès, Caroline Shaw, Chen Yi, and Suzanne Farrin. The approach is pedagogical, in the somewhat informal style of a classroom. Musical examples and analytical videos carry the burden of the analytical argument, with relatively little prose. For each piece, the book suggests ways of making sense of the music, using basic concepts of post-tonal theory to tease out rich networks of musical relationships and reveal something of the fascination and beauty of this challenging music"--

Written by a pupil of Heinrich Schenker, this outstanding work develops and extends Schenker's approach. More than 500 examples of music from the Middle Ages to the 20th century complement the detailed discussions and analyses.

This step-by-step introduction to interpreting bass lines, upper parts, and whole compositions uses the new multi-level hierarchy to show readers the interaction of structure and motion in music. The authors present scores of models for notation and offer a host of exercises which are keyed to chapters or sections of chapters. In addition, lists of optional exercises keyed to commonly used anthologies are also supplied. Content highlights: presents bass-line sketches to allow a smooth transition into Schenkerian analysis; details the link between Schenkerian analysis and traditional methods of analysis of form in music; Uses a generative (top-down) approach to Schenkerian analysis rather than a reductive approach to more clearly illustrate Schenker's original intentions for the method; devotes an entire section to the special topic of nontraditional tonal music before Bach and after Brahms; and offers an encapsulated overview of the principal concepts of Schenker's method to facilitate recall.

SchenkerGUIDE is an accessible overview of Heinrich Schenker's complex but fascinating approach to the analysis of tonal music. The book has emerged out of the widely used website, www.SchenkerGUIDE.com, which has been offering straightforward explanations of Schenkerian analysis to undergraduate students since 2001. Divided into four parts, SchenkerGUIDE offers a step-by-step method to tackling this often difficult system of analysis. Part I is an introduction to Schenkerian analysis, outlining the concepts that are involved in analysis Part II outlines a unique and detailed working method to help students to get started on the process of analysis Part III puts some of these ideas into practice by exploring the basics of a Schenkerian approach to form, register, motives and dramatic structure Part IV provides a series of exercises from the simple to the more sophisticated, along with hints and tips for their completion.