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Schenker's Performance of Chopin's Preludes and the Meanings of InterruptionAlan Dodson (University of British Columbia) AMS/SMT Milwaukee, 8 Nov 2014
Example 1. Schenker's harmonic analysis of Chopin, Prelude in B Minor, op. 28/6 (from )Harmony
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Example 2. Schenker's annotated score of Chopin, Prelude No. 6 in B minor
(from the Jonas Collection)
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Example 4. Further annotations for "intertwined playing" ( ) in
Chopin's Preludes
Ineinanderspielen
(a) No. 17 in A major, theme: acceleration in m. 10
Example 3. Excerpt from an analytical sketch of Chopin, Prelude No. 6 in B minor
(from the Oster Collection)
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Example 4 (continued).
(b) No. 4 in E minor: "Auftakt!" in m. 12
(c) No. 3 in G major: acceleration in m. 11 (with dotted lines for voice leading)
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Example 5. Three excerpts from an analysis by Angelika Elias of Chopin's B-minor Prelude
(from the Oster Collection)
(a)
(b)
(c)
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Example 6. Headings from two early drafts of the chapter on interruption in
(adapted from Marston 2013)Free Composition
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loosening (Auflockerung) of the Urlinie-Zug through interruption
interruption in the case of 3
[interruption in the case of 5]
[interruption in the case of 8?]
^
^
^
: 3- 3-2-1
the turning back to 3 does not mean a cadence
half cadence? divider? partial arpeggiation ( )?with the first stand of 2, the voice leading breaks off
the first 2 is not a neighbor note
interruption as the root of form
interruption or neighbor note?
at the first level, only the interruption from 5-2 5-1 is a possibility
5-2 is a 4-Zug
the turning back to 5 does not mean a cadence
5-2 5-1 as the root of form in the foreground
impossibility of an interruption in the case of 8-1
8-5 5-1 as the root of form in the foreground
^ 2̂ ^ ^ ^
^
^
^
^ ^ ^ ^ ^
^ ^
^
^ ^ ^ ^
^ ^
^ ^ ^ ^
Teilbrechung
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Example 7. Schenker's annotated score of Chopin, Prelude No. 1 in C major
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Example 8. Three excerpts from an analysis by Schenker of Chopin's C-major Prelude
(from the Oster Collection)
(a)
(b)
(c)
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Example 9. Analytical sketch by Schenker of Chopin, Prelude No. 10 in C-sharp minor
(from the Oster Collection)
Example 10. Schenker's annotated score of Chopin, Prelude No. 10 in C-sharp minor
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Example 11. The retained tone in the case of a period (from , vol. 2)The Masterwork in Music
(a) (b)
Example 12. Ursatz and first level from , No. 5: Chopin, Etude
in C minor, op. 10/12 (adapted to fit onto one page)
Five Graphic Music Analyses
Example 13. Alternative reading of Chopin, Etude in C minor, op. 10/12, doubling as an analysis
of the Mazurka in C minor, op. 30/1 (from the Oster Collection)
Example 14. Schenker's "precise view of the constant control that the Ursatz exerts" over
the interruption in the case of 3 ( , Supplement, Fig. 21b)^ Free Composition
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