summery of schenker's anlysis

summery of schenker’s anlysis

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The paper should present your findings and ideas about the piece you are analyzing, and should provide any necessary explication of the your diagrams. Looked at the other way, the diagrams should be used to illustrate the arguments you are making in your paper. Papers must be word-processed. If you do not use notation software for the diagrams, they must nevertheless be neat and legible. Use a straight edge for ruling lines, and use staff paper with margins on both sides. Use your best penmanship.

164 Heinrich Schenker [The First Movement] 165
but rather the combination of four pitches in mm. 1-5;
HEINRICH SCHENKER 3”
-__=====m-_====
<1.I-‘-‘-==-=:===
Nw ’ h’m
1 Because m. 1 of the score must be understood as a weak meas-
nt l
[AnalyszsoftheFtho1/eme ] ‘ ure-the repetition of the expos1t1on (see pp. 180-81) shows that 1t 15
the eighth, and thus a weak measure, of the group beginning at m.
Heinrich schenker (1868-1935) was a remarkable Austrian theorist, whose 1 18-the motive is four measures long, mm. 2-5, with m. 1 as an upbeat.
methods of analysis and mUSical thinking have had a tremendm‘s when,“ Here is an overall view of the primary transformations of the main motive:
on the writings of many subsequent theorists. F1rst a composer and p1a- . E 3
nist, he later turned to the theoretical work for Wthh he 15 Justlyi famous. x- W
His writings include articles both on composinonal techniques an on spe- m in mm. H t… “pm, m
cific works and he also edited many compositions, includmg the Bee- “mum” l1===.=r_===-=_===
u-.-f
thoven piano sonatas. Schenker’s preoccupauon was wnh the total shape mm. 478-482 V
of a piece as an extension of the tonic triad of the key 1n whtch the prece
was set. . ‘ 1m ‘ .228-232
Included here is Schenker’s analysis of the first movement of the fifth “‘ 398402 fg;======__==_
Symphony. Although this analysis represents a relattvely early stage of h1s , 33:33 L.‘-=’-_-__=-=~-=: e a-
progress towards a highly linear conception of music (a conception that p q
develops visibly in the course of the analysis of the complete symphony,
which was first published in installments between 1921 and 19:4) ,d1.tfioffers
a o o t ‘ in mm. . -t,‘
many valuable 1n51ghts mm the structure of the work, at a rat er 1 eren .18 _ 8 ggz==‘=5=5=-1==
level from those represented by the Tovey and Hoffman essays. . “‘m 0′ 4
The sonata form of the first movement is self-evident, as follows:
n’.
Firstsubject: “wmmwm
Antecedent mm… 1-21 ‘ g
Consequent and modulation mm. 22-59 A
NB:
second subject mm. 60-125 , ,c, in mm .26-,” .rau==-==g===m
IN;I‘l-“TZ“-
Development mm. 126-248 7 ‘ ‘ 19V? m.
Recapitulation mm- 249’373 ‘9
0″” ‘”m’374’5m – W
Id) In mm.23~24
EXPOSITION
The main motive of the first movement is not. as has been CFYO’ The first version-Ia, with repeated notes in its upbeat measure and its
UCOllSly assumed until now, merely the [Wo PitChCS Of mm. 1 and 2 of the second measure [1″6. in the first and third measures of the work] and
score; I with fematas in its first and fourth measures-is the most powerful ver-
E l sion, and serves as the introductory motto for the first subject group; as
X. . . o o o
the most powerful vers1on, 1t returns at the begmmng of the recap1tula-
m tion and also toward the end of the coda, in order to establish musical
rhyme, as it were, with the beginning of the movement.
1 From Der Tonwille. I (1921). 27-37- Reprinted with chmissi‘)“ ‘1’; Em???“ . The second version, Ib, retains the definitive skips of a third found
a 01′
2:12:23. ‘5: Yrs: assess;assesses: 1‘ m the am but the 1mm

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