The book offers a criticism of Schenkerian theory and analytic practice. Contrary to what is held, is it really valuable when it comes to musical deillegalscription and interpretation? What about its relationships to other kinds of analysis, and to linguistic syntax and music cognition?
During the past fifty years Schenkerian theory has been adopted as the main method for analysing tonal music. This book questions the value of Schenker's "tonal analysis" for musical deillegalscription and interpretation, and discusses its relations to "generative" theory and "implicational" analysis - taking into account its links with linguistic syntax and the perception of tonal closure. It is observed how auxiliary theoretical concepts transform the music so as to pave the way for preordained tonal structures. Alternative readings of the music examples are provided.
Contents: Criticism of Schenkerian theory and analytic practice - Alternative readings - Musical interpretation - Generative theory - Implicational analysis - Linguistic syntax - Tonal closure - Auxiliary concepts.
Bengt Edlund, trained as a pianist, has been active as a music critic, and as lecturer at the Department of Musicology, University of Lund, where he was appointed Professor in 2000. His main fields of interest are music theory and analysis, music cognition and aesthetics, and musical interpretation.
Über den Autor
Bengt Edlund, trained as a pianist, has been active as a music critic, and as lecturer at the Department of Musicology, University of Lund, where he was appointed Professor in 2000. His main fields of interest are music theory and analysis, music cognition and aesthetics, and musical interpretation.
Inhaltsverzeichnis
Contents: Criticism of Schenkerian theory and analytic practice ¿ Alternative readings ¿ Musical interpretation ¿ Generative theory ¿ Implicational analysis ¿ Linguistic syntax ¿ Tonal closure ¿ Auxiliary concepts.
Klappentext
During the past fifty years Schenkerian theory has been adopted as the main method for analysing tonal music. This book questions the value of Schenker¿s «tonal analysis» for musical deillegalscription and interpretation, and discusses its relations to «generative» theory and «implicational» analysis ¿ taking into account its links with linguistic syntax and the perception of tonal closure. It is observed how auxiliary theoretical concepts transform the music so as to pave the way for preordained tonal structures. Alternative readings of the music examples are provided.
