Schenkerian music analysis is a method of analyzing tonal music developed by Heinrich Schenker in the early 20th century. The theory posits that tonal music is structured around a single tonic chord, and that all other chords and melodies in the piece relate to this tonic chord in some way. Schenkerian analysis aims to reveal the underlying structure of a musical work by reducing it to its most basic elements and examining how they relate to each other.
At its core, Schenkerian analysis is concerned with the foreground, middleground, and background layers of a musical work. The foreground layer consists of the most prominent melodic and harmonic elements, while the middleground and background layers provide the harmonic and contrapuntal framework for the foreground. By examining these layers and their relationships, Schenkerian analysis seeks to uncover the underlying coherence and meaning of a musical work.
While Schenkerian analysis has been the subject of much criticism and debate over the years, it remains a popular and widely used method of analyzing tonal music. Scholars and performers alike continue to use Schenkerian analysis to gain a deeper understanding of musical works, and to inform their own performances and interpretations of those works.
The Origins Of Schenkerian Analysis
Schenkerian analysis is a method of musical analysis that aims to uncover the underlying structure and meaning of a musical composition. It is named after Heinrich Schenker, a music theorist who developed the approach in the early 20th century. Schenkerian analysis has become a widely used tool for analyzing Western classical music, particularly from the common practice period.
- Heinrich Schenker – Heinrich Schenker (1868-1935) was an Austrian music theorist who developed the Schenkerian approach to analysis. Schenker was born in the Austrian Empire and studied music in Vienna. He began his career as a music critic and later became a teacher and lecturer. Schenker’s theories were largely developed in the context of German-speaking countries, particularly in the years leading up to World War I, when German nationalism was on the rise.
- Schenkerian Theory – Schenkerian theory is based on the idea that a musical composition can be understood as a hierarchy of structural levels. At the top of the hierarchy is the “Urlinie,” or “fundamental line,” which represents the underlying melodic shape of the composition. The Urlinie is supported by a series of “voice-leading” structures, which connect the individual notes of the composition to the larger structural levels.
Schenkerian analysis is often carried out using a “graphical” approach, in which the structural levels are represented as a series of nested lines and arcs. This approach can be used to reveal the underlying harmonic and melodic relationships in a composition, as well as to identify recurring patterns and motifs.
Overall, Schenkerian analysis has become an important tool for understanding the structure and meaning of Western classical music, and has influenced the work of many composers and theorists in the years since its development.
The Basics Of Schenkerian Analysis
Schenkerian analysis is a method of analyzing tonal music that seeks to identify the underlying structure of a piece. This method was developed by Heinrich Schenker in the early 20th century and has since become an important tool for music theorists and analysts. In this section, we will introduce the basics of Schenkerian analysis, including its key concepts and techniques.
- Analysis – At its core, Schenkerian analysis is concerned with identifying the underlying structure of a piece of music. This involves breaking the music down into its constituent parts, such as phrases, chords, and individual notes, and examining how these parts relate to each other. One of the key tools used in Schenkerian analysis is the Schenkerian graph, which is a visual representation of the underlying structure of a piece of music.
- Musical Structure – Schenkerian analysis is based on the idea that tonal music is structured around a fundamental line, which is a series of notes that form the backbone of the piece. This fundamental line is often found in the bass or lowest voice of the music, and it provides a sense of tonal stability and coherence. Schenkerian analysis also distinguishes between foreground, middleground, and background layers of a piece, with the foreground being the most prominent and the background being the least prominent.
In addition to these basic concepts, Schenkerian analysis also makes use of a number of other techniques and ideas, including:
- Counterpoint – the study of how different melodic lines interact with each other
- Harmony – the study of how chords and chord progressions are used in a piece of music
- Elaboration and Ornamentation – the study of how melodies are embellished and decorated
- Voice Leading – the study of how individual voices move from one note to another
- Meaning and Coherence – the study of how different parts of a piece of music relate to each other to create a sense of overall meaning and coherence
By using these and other techniques, Schenkerian analysis aims to provide a deeper understanding of the structure and meaning of tonal music.
The Importance Of Tonal Music In Schenkerian Analysis
Tonal Music
Schenkerian analysis is primarily concerned with tonal music, which is music that is based on a tonal center or key. Tonal music is characterized by the use of a tonic chord, which is the chord built on the first degree of the scale and serves as the tonal center of the piece. Tonal music has been the dominant form of Western music for centuries, and Schenkerian analysis provides a way to understand and appreciate its structure and complexity.
Tonic Chord
The tonic chord is the most important chord in tonal music, and Schenkerian analysis places a great deal of emphasis on its role in the structure of a piece. The tonic chord is the chord that gives a piece its sense of tonality, and it is often used to begin and end phrases and sections of a piece. In Schenkerian analysis, the tonic chord is often represented as a large arrow pointing upward, symbolizing its function as the goal of the music.
By focusing on the tonic chord and its relationship to other chords in a piece of music, Schenkerian analysis provides a way to understand the underlying structure of a piece and the ways in which its various parts are related to one another. This can help listeners to appreciate the complexity and beauty of tonal music, and to gain a deeper understanding of the ways in which it is constructed.
The Concept Of Foreground, Middleground, and Background
Schenkerian analysis is centered on the concept of foreground, middleground, and background. The theory asserts that music is structured in a hierarchical manner, with the foreground being the most complex and the background being the simplest.
The foreground is the most prominent and active layer of the music, while the background is the most passive and static layer.
The middleground is the layer that connects the foreground and background. It is the transitional layer that provides the necessary harmonic, melodic, and rhythmic support for the foreground. In other words, the middleground is the glue that holds the foreground and background together.
Foreground, middleground, and background are not fixed layers of music. Instead, they are relative layers that depend on the context of the music. For example, a passage that is considered the foreground in one section of the music might be considered the middleground in another section.
The concept of foreground, middleground, and background is crucial to Schenkerian analysis because it helps analysts identify the most important musical elements in a piece of music.
By identifying the foreground, middleground, and background layers, analysts can better understand the structure and function of a piece of music. This, in turn, can help performers and composers create more expressive and meaningful interpretations of the music.
The Ursatz and Linear Progression
The Ursatz is a fundamental concept in music theory that refers to the underlying harmonic structure of a piece of music. It represents the most basic harmonic progression that underlies the surface of a musical composition.
Linear progression, on the other hand, refers to the way in which harmonic progressions move sequentially from one chord to another in a linear fashion.
Together, the Ursatz and linear progression provide a framework for understanding the harmonic structure and development of tonal music.
Ursatz
The Ursatz is a fundamental concept in Schenkerian music analysis. It is a basic underlying structure that is present in a piece of music, and it is often represented as a descending line from the tonic to the dominant.
The Ursatz is a simplified version of the complete piece, and it is used to help identify the most important structural elements of the music.
Linear Progression
Linear Progression is another important concept in Schenkerian analysis. It refers to the way that the Ursatz is elaborated and expanded in the music. Linear Progression involves the use of voice leading to create a smooth and logical progression from one chord to the next.
In Schenkerian analysis, Linear Progression is often represented as a series of lines that connect the chords in the music. These lines are called “linear progressions,” and they are used to show how the music is structured and how it develops over time.
Linear Progression is closely related to the concept of the Tonic Triad, which is the most important chord in a piece of music.
The Tonic Triad is the chord that represents the key of the music, and it is often used as a starting point for Linear Progression.
Elaboration and Voice Leading
Elaboration is the process of expanding and developing the Ursatz through the use of various musical techniques.
Voice leading is an important part of elaboration, as it involves the way that the individual voices in the music move from one chord to the next.
In Schenkerian analysis, voice leading is often represented as a series of arrows that show the direction of movement of the individual voices. These arrows are used to show how the music is constructed and how it develops over time.
Figured Bass, Species Counterpoint, and Transformations
Figured Bass is a musical notation system that was commonly used in the Baroque era. It involves the use of numbers and symbols to indicate the chords and harmonies in a piece of music. Schenkerian analysis often uses figured bass notation to represent the chords in the music.
Species Counterpoint is a system of musical composition that was developed in the Renaissance era. It involves the use of strict rules for the movement of individual voices in the music.
Schenkerian analysis often uses species counterpoint to explain the voice leading in a piece of music. Transformations are a set of rules that are used to transform the Ursatz into more complex musical structures.
These rules involve the use of various techniques, such as inversion, retrograde, and diminution. Schenkerian analysis often uses transformations to explain the elaboration and development of the Ursatz in a piece of music.
Zug and Fundamental Line
Zug is a German word that means “pull” or “tug.” In Schenkerian analysis, zug refers to the way that the individual voices in the music are pulled toward the Tonic Triad. This creates a sense of harmonic tension and resolution in the music.
The Fundamental Line is a concept in Schenkerian analysis that refers to the way that the Ursatz is elaborated and expanded through Linear Progression. The Fundamental Line is a series of descending lines that connect the chords in the music, and it is used to show how the music is structured and how it develops over time.
Overall, the Ursatz and Linear Progression are important concepts in Schenkerian music analysis. They help to identify the most important structural elements of a piece of music, and they provide a framework for understanding how the music is constructed and how it develops over time.
The Role of Performance in Schenkerian Analysis
Performance plays an important role in Schenkerian analysis as it allows for a deeper understanding of the musical structure and intention behind a composition. Schenkerian analysis is based on the concept of the Ursatz, which is the fundamental structure underlying a piece of music.
However, the Ursatz can only be fully realized through performance. By studying a composition through performance, a Schenkerian analyst can gain insight into the composer’s intended harmonic structure, melodic phrasing, and rhythmic articulation.
Performance can also reveal how a composition is meant to be interpreted and expressed, which is crucial for understanding its overall musical meaning. Therefore, performance is not just a means of bringing a piece of music to life but also a tool for analyzing and interpreting its underlying structure.
Performance
Schenkerian analysis is a method of analyzing tonal music that focuses on the underlying structure of a piece. While the analysis is primarily concerned with the score, performance can play an important role in understanding the structure of a piece. By listening to a performance, a Schenkerian analyst can gain insight into the performer’s interpretation of the music, which can provide valuable information about the structure of the piece.
Performance Practice
Performance practice is an important aspect of Schenkerian analysis. The way a performer plays a piece can have a significant impact on the structure of the music. For example, the use of articulation can affect the grouping of notes and phrases, which can in turn affect the analysis. A Schenkerian analyst must be familiar with the performance practices of the time period in which the music was written in order to fully understand the structure of the piece.
Piano Music
Piano music is a particularly important area of study for Schenkerian analysis. The piano is a highly expressive instrument, and the performer can use a variety of techniques to shape the structure of the music. For example, the use of pedal can affect the harmonic structure of a piece, while the use of dynamics can affect the grouping of notes and phrases.
Performer and Writer
In Schenkerian analysis, the performer and the writer are seen as separate entities. The performer’s interpretation of the music is seen as a separate layer on top of the underlying structure of the piece. While the performer’s interpretation can provide valuable insight into the structure of the piece, it is important to separate the two in order to fully understand the structure of the music.
Articulation
Articulation is an important aspect of performance practice in Schenkerian analysis. The way a performer articulates a note can affect the grouping of notes and phrases, which can in turn affect the analysis. For example, a staccato articulation can create a sense of separation between notes, while a legato articulation can create a sense of connection between notes. A Schenkerian analyst must be familiar with the different types of articulation and their effects on the structure of the music. Overall, performance can play an important role in Schenkerian analysis, providing valuable insight into the structure of a piece. Performance practice, piano music, the performer and writer, and articulation are all important areas of study for Schenkerian analysts.
The Influence Of Schenkerian Analysis
Schenkerian analysis has had a significant impact on music theory and analysis since its development in the early 20th century. This section will explore the influence of Schenkerian analysis on music theory and the criticism that it has received.
Influential
Schenkerian analysis has been influential in several ways. One of the most significant ways is its focus on the internal coherence of a piece of music. This approach has led to a deeper understanding of the structure and organization of music. Schenkerian analysis has also been influential in its use of a specialized symbolic form of musical notation that is designed to represent the underlying structure of a piece of music. This notation system has become an essential tool for music theorists and analysts.
Another way that Schenkerian analysis has been influential is through the generative direction that it provides. This approach allows for the identification of the underlying structure of a piece of music, which can then be used to generate further musical ideas. This generative direction has been used by composers and theorists alike to create new works of music.
Finally, Schenkerian analysis has been influential in its development of the graph of the Ursatz. This graph is a visual representation of the underlying structure of a piece of music and has become an essential tool for music theorists and analysts.
Criticism
Despite its influence, Schenkerian analysis has also received criticism. One of the most significant criticisms is its focus on the Western classical music tradition. This focus has led to a neglect of other musical traditions, such as jazz and popular music. Additionally, some critics have argued that Schenkerian analysis places too much emphasis on the structure and organization of music at the expense of other musical elements, such as rhythm and timbre.
Another criticism of Schenkerian analysis is its use of rhythmic signs. Some critics have argued that these signs are not necessary for understanding the underlying structure of a piece of music and that they can be confusing for those who are not familiar with Schenkerian analysis.
Despite these criticisms, Schenkerian analysis remains an essential tool for music theorists and analysts. Its focus on the internal coherence of a piece of music has led to a deeper understanding of the structure and organization of music, and its specialized symbolic form of musical notation has become an essential tool for music theorists and analysts.
The Future of Schenkerian Analysis
Methodology
The future of Schenkerian analysis is promising, as scholars continue to refine and develop the methodology. One area of focus is the integration of technology into the analysis process. Software programs are being developed that can assist in the identification of structural features, such as harmonic progressions and voice leading patterns. This can save time and provide a more objective analysis, as the program can identify patterns that may be missed by the human ear.
Another area of development is the refinement of the analytical process itself. Schenkerian analysis is a complex and time-consuming process, and scholars are working to streamline and simplify the methodology. This includes the development of new analytical tools and the creation of more accessible instructional materials.
Philosophical
There is also a growing philosophical debate within the Schenkerian community about the purpose and scope of analysis. Some argue that analysis should be focused solely on the structural features of a piece, while others believe that analysis should also take into account the historical and cultural context of the music. This debate will likely continue in the future, as scholars grapple with the question of what exactly Schenkerian analysis is meant to achieve.
Polemic
There is also a small but vocal group of scholars who are critical of Schenkerian analysis, arguing that it is too focused on the Western classical canon and that it reinforces a Eurocentric view of music history. This criticism will likely continue to be a part of the conversation surrounding Schenkerian analysis in the future.
Harmonies
One area of focus for future Schenkerian analysis is the study of non-Western harmonic systems. While Schenkerian analysis was developed primarily for the analysis of Western classical music, the principles of the methodology can be applied to other musical traditions as well. Scholars are beginning to explore the application of Schenkerian analysis to non-Western music, which could provide new insights into the structure and organization of these musical systems.
Performers
Finally, there is a growing interest in the application of Schenkerian analysis to performance. While Schenkerian analysis has traditionally been focused on the analysis of written scores, scholars are beginning to explore how the principles of the methodology can be applied to the interpretation and performance of music. This could lead to a deeper understanding of the relationship between musical structure and performance.