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Schenker's Interpretive Practice Robert Snarrenberg Studies in Music Theory and Analysis vol. 11 New York: Cambridge Univ. Press, 1997 xxiii, 175 pp.

Schenker's Interpretive Practice Robert Snarrenberg Studies in Music Theory and Analysis vol. 11... cially in respect of post-tonal and atonal voice leading, [as in] Katz’s . . . early excursion into artistic territory completely shunned by Schenker, including Wagner, Debussy, Stravinsky and Schoenberg. . . . Salzer’s Structural Hearing . . . , in contrast, offered a radical critique of the aesthetic and indeed the acoustic foundations of Schenkerian theory” (264). Coining the term “calculated hermeneutics” as a general descriptor for Schenker’s project, Dunsby then passes back and forth between the books by Blasius and Snarrenberg, testing how well each addresses, in turn, Schenker’s historical place and the integrity of his method, the status of the analytic notation in relation to a composition, the problem of reduction in Schenker’s late work, and the analytic notation as writing (here, Kofi Agawu and Nicholas Cook join the conversation).7 Another advantage to being last in the race, as it were, is that a reviewer has an opportunity to assess how much influence a monograph has on its immediate successors, whether by the simple statistic of citations or by a discernible and significant influence on practice. SIP did win the Society for Music Theory’s Young Scholar Award in 1998. Apart from that, by the evidence http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

Schenker's Interpretive Practice Robert Snarrenberg Studies in Music Theory and Analysis vol. 11 New York: Cambridge Univ. Press, 1997 xxiii, 175 pp.

Neumeyer, David
Journal of Music Theory , Volume 45 (1) – Jan 1, 2001
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Publisher
Duke University Press
Copyright
Copyright 2001 by Yale University
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-45-1-190
Publisher site
See Article on Publisher Site

Abstract

cially in respect of post-tonal and atonal voice leading, [as in] Katz’s . . . early excursion into artistic territory completely shunned by Schenker, including Wagner, Debussy, Stravinsky and Schoenberg. . . . Salzer’s Structural Hearing . . . , in contrast, offered a radical critique of the aesthetic and indeed the acoustic foundations of Schenkerian theory” (264). Coining the term “calculated hermeneutics” as a general descriptor for Schenker’s project, Dunsby then passes back and forth between the books by Blasius and Snarrenberg, testing how well each addresses, in turn, Schenker’s historical place and the integrity of his method, the status of the analytic notation in relation to a composition, the problem of reduction in Schenker’s late work, and the analytic notation as writing (here, Kofi Agawu and Nicholas Cook join the conversation).7 Another advantage to being last in the race, as it were, is that a reviewer has an opportunity to assess how much influence a monograph has on its immediate successors, whether by the simple statistic of citations or by a discernible and significant influence on practice. SIP did win the Society for Music Theory’s Young Scholar Award in 1998. Apart from that, by the evidence

Journal

Journal of Music Theory – Duke University Press

Published: Jan 1, 2001

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