Synopses & Reviews
Analysis of Tonal Music: A Schenkerian Approach, Third Edition, is a comprehensive, logically organized introduction to the fundamental principles of Schenkerian technique. Rather than relying on stereotypical models or formulas, authors Allen Cadwallader and David Gagné use specific, memorable compositions to explain structural principles. This approach teaches students how to think about and critically examine music in ways that will inform their understanding and performance of great compositions of Western art music.
Part 1 covers principles fundamental to the study of Schenkerian analysis and includes discussions of melody, counterpoint, bass-line structures, the imaginary continuo, linear techniques, and the essential properties of the Ursatz (fundamental structure). Part 2 presents complete compositions by formal category, beginning with one-part forms; proceeding through binary, ternary, and rondo forms; and concluding with the sonata principle. The book includes more than 200 analytical graphs--some new to this edition--an appendix on graphic notation, and a bibliography.
NEW TO THE THIRD EDITION
* Makes more frequent reference to the principles of strict counterpoint introduced in Chapter 2
* Provides enhanced discussions of harmonic structure and of the imaginary continuo as a tool for analysis (Chapter 3)
* Places greater emphasis throughout Part 2 on Schenker's ideas on musical form
* Reorders Chapter 9 to present the typical formal structures for binary form in a way that parallels Schenker's ideas about form and structure
* Includes a new analysis of a Brahms Intermezzo (a composite ternary form) in Chapter 10
* Features a completely revised concluding chapter that discusses Schenker's ideas on form in relation to common tonal patterns (i.e., structural "paradigms")
The third edition is supplemented by a thoroughly revised Student Workbook that guides students systematically through the process of analysis.
Review
"The third edition of Analysis of Tonal Music brings improvements and clarifications to a textbook that already is the most well-grounded, authoritative source. . . . The text presents an authentic understanding of the tradition of Schenker's theory; it far supersedes any competitors, and it is the only Schenkerian text I recommend."--Frank Samarotto, Indiana University
"The greatest strengths of this textbook are its attractive and engaging writing style, its well-paced introduction to essential concepts, its care and attention to musical details beyond reduction to archetype, and its well-chosen excerpts for analytical demonstration. . . . The book covers all the topics I introduce to students and does so in a thoughtful, clear manner. It provides a firm foundation upon which students can develop their hearing and thinking about music from a Schenkerian perspective."--Michael Baker, University of Kentucky
Synopsis
Analysis of Tonal Music: A Schenkerian Approach, Third Edition, is a comprehensive, logically organized introduction to the fundamental principles of Schenkerian technique. Rather than relying on stereotypical models or formulas, authors Allen Cadwallader and David Gagne use specific, memorable compositions to explain structural principles. This approach teaches students how to think about and critically examine music in ways that will inform their understanding and performance of great compositions of Western art music. Part 1 covers principles fundamental to the study of Schenkerian analysis and includes discussions of melody, counterpoint, bass- line structures, the imaginary continuo, linear techniques, and the essential properties of the Ursatz (fundamental structure). Part 2 presents complete compositions by formal category, beginning with one-part forms; proceeding through binary, ternary, and rondo forms; and concluding with the sonata principle. The book includes more than 200 analytical graphs--some new to this edition--an appendix on graphic notation, and a bibliography.
About the Author
Allen Cadwallader is Professor of Music Theory at the Oberlin College Conservatory of Music. He is the editor of
Essays from the Fourth International Schenker Symposium, Volume 1 (2008) and
Trends in Schenkerian Research (1990). His articles have appeared in
Music Theory Spectrum, Music Analysis, Intégral, Theory and Practice, and
Journal of Music Theory.David Gagné is Associate Professor of Music Theory at Queens College, City University of New York. He is the coeditor of Structure and Meaning in Tonal Music: Festschrift in Honor of Carl Schachter (2006). His articles and reviews have appeared in journals and books including The Music Forum, Music Theory Spectrum, Indiana Theory Review, Intégral, Schenker Studies 2, and Trends in Schenkerian Research.
Table of Contents
PrefacePART 1: BASIC PRINCIPLES
1. Introduction
Beethoven, Piano Sonata, Op. 2, No. 1, I
2. Melody and Counterpoint
Some Characteristics of Melody
Counterpoint
Structural Melody
3. Bass Lines and Harmonic Structure
Tonic Harmony (T Class)
Intermediate Harmonies (Int Class)
Dominant Harmony (D Class)
Larger Contexts
Chord Prolongation: Summary
4. Linear Techniques
Linear Progressions
Linear Intervallic Patterns
The Neighbor Note
Linear Intervallic Patterns: Summary
5. Tonal Structure
Notational Symbols
Tonal Structure and the Ursatz
The Bass Arpeggiation (Bassbrechung)
The Fundamental Line (Urlinie)
Structural Levels
The Principle of Interruption
More on the Ursatz
6. Techniques of Melodic Prolongation
The Initial Ascent
The Arpeggiated Ascent
Unfolding
Motion into an Inner Voice
Motion from an Inner Voice
Voice Exchange
Shift of Register
Descending and Ascending Register Transfer
Coupling
Superposition
Reaching Over
Cover Tone
Substitution
The Phrygian 2
Mixture of Scale Degree 3
Techniques in Combination
7. Some Basic Elaborations of Fundamental Structures
Mozart, Piano Sonata, K. 283, I, bars 1-16
Beethoven, Piano Sonata, Op. 31, No. 1, II, bars 1-8
Beethoven, Piano Sonata, Op. 2, No. 1, II, bars 1-8
Beethoven, Piano Sonata, Op. 10, No. 1, II, bars 1-16
Mozart, Piano Concerto, K. 488, II, bars 1-12
Beethoven, Piano Sonata, Op. 14, No. 3, Second Theme, bars 26-47
Some Points for Review
PART 2: ANALYTICAL APPLICATIONS
8. One-Part Forms
Bach, Prelude in C major (WTC I)
Schubert, "Wandrers Nachtlied"
Schumann, "Lieb' Liebchen"
9. Binary Forms
Handel, Suite No. 5 in D minor, HWV 436, Menuetto
Bach, "Little" Prelude in C major, BWV 933, Menuetto
Corelli, Violin Sonata, Op. 5, No. 10, Gavotte
Bach, Flute Sonata No. 2, Minuet 1
Haydn, Piano Sonata, Hob. XVI/43, Minuet 2
Mozart, Symphony No. 35, K. 385, Trio
Auxiliary Cadences
10. Ternary Forms and Rondo
Beethoven, Bagatelle, Op. 119, No. 1
Mendelssohn, Song Without Words, Op. 62, No. 1
Schubert, Moment Musical, Op. 94, No. 2
Haydn, Piano Sonata, Hob XVI/37, III
Brahms, Intermezzo, Op. 119, No. 2
11. Sonata Principle
Clementi, Sonatina, Op. 36, No. 1, I
Mozart, Symphony No. 35, ("Haffner"), K. 385, II
Mozart, Piano Sonata, K. 457, I
12. Some Common Tonal Patterns and Procedures
Introduction
Binary Forms
Ternary Forms
Sonata Principle
Prolongational Spans
Mixture and Large-Scale Tonal Plans
Appendix: Introduction to Graphic Notation
Open Noteheads
Slurs and Filled-in Noteheads
Beams
Broken Ties
Stems with Flags
Diagonal Lines
Diagonal Lines and Beams
Rhythmic Notation at Lower Levels
Roman Numerals
Sample Graphic Analyses for Study
Notes
Selected Bibliography
Index of Musical Examples
Index of Subjects